A HANDBOOK 

FOR 

ENGLISH TEACHERS 

For Use in the Texas High Schools 



BY 

H. W. MORELOCK 

WEST TEXAS STATE NORMAL SCHOOL 

AND 

L. H. HUBBARD 

SUPERINTESDENT OP SCHOOLSj BELTON, TEXAS 



SCOTT, FORESMAN AND COMPANY 
CHICAGO NEW YORK 



TWELrVB CENTURIES 

OF 

English Poetry and Prose 

Selected and Bdlted by 

ALPHONZO GERALD NEWCOMER 

rrofetsoroi English In the Leland Stanford Jr. Univeielty, and 

ALICE E. ANDREWS 

Tuchei of Enellsh In the Cleveland High School, St. Ptul 

760 p«tf«s. Price $1.75 

A COLLECTION of the classics of our litera- 
ture covering every period, which pro- 
vides In convenient form, at a reasonable 
price, as much as possible of the material with 
which English classes must be supplied. 

The threefold purpose In issuing the volume 
has been : 

FIRST, to Include, as far as possible, 
those classics of our literature — the 
ballads, elegies, and odes, the L' AL- 
LEGROS and DESERTED VILLAGES 
. — which afford the staple of school In- 
struction and with which classes io 
English must be supplied. 

SECOND, to supplement these with a 
sufficient number of selections from 
every period of our literature to pro- 
vide a perspective and make the vol- 
ume fairly represeatatlve from a his- 
torical point of view. 

THIRD, to go somewhat outside of the 
beaten track, though keeping still to 
standard literature, and make a liberal 
addition of selections, especially from 
the drama and prose, to enliven the col- 
lection and widen Its human interest. 

The volume will be comrqended especially be- 
cause of the ease wltb xvbich the student may 
refer to the selections £;iVen. Observe (1) the 
Index to the notes, (2)*a glossary, (3) index to 
titles .and first lioes, (4) Index to authors. 

BCOTT, FOKESMAN AND COMPANY 

BDucattonal ipubUsbcrs 

460 Fourth Avenue 623 South Wabash Avenve 

NEW YORK CHICAGO 



A HANDBOOK 

FOR 

ENGLISH TEACHERS 

For Use in the Texas High Schools 

BY 

H. W. MORELOCK 

WEST TEXAS STATE NUKMAL SCHOOL 

AND 

L. H. HUBBARD 

I 

SUFERINTEXDENT OF SCHOOLS, BELTON, TEXAS 



SCOTT, FORESMAN AND COMPANY 
CHICAGO NEW YORK 



x^ 



Copyright, 1914, 

BY 

Scott, Foresman and Company 



/' r\ ^, J*^ 
••• 

©CI,A38810I 

OCT 28 1914 



1, 

j CONTENTS 

PAGE 

General Introduction 5 

Four Year Course of Study for Texas Schools 7-10 

The First Year 7 

The Second Year 8 

Supplementary Readings for the First Year 7 

The First Year: 

Specific Aim 11 

Class Work 11 

General Suggestions 11 

First Three Months by Weeks 15 

Second Three Months by Weeks 34 

Third Three Months by Weeks 40 

The Second Year: 

Specific Aim 45 

General Statement 45 

First Three Months by Weeks 48 

Second Three Months by Weeks 55 

Third Three Months by Weeks 59 

The Third Year: 

Introduction 65 

First Three Months by Weeks 67 

Second Three Months by Weeks 72 

Third Three Months by Weeks 78 

The Fourth Year: 

Introduction : 83 

First Three Months by Weeks 85 

Second Three Months by Weeks 89 

Third Three Months by Weeks 93 



CLASSICS OUTLINED FOR STUDY IN THIS MANUAL 

PAGE 

Stevenson 's Treasure Island 21 

Dickens's Christmas Carol 37 

Scott's Lady of the Lake 37 

Coleridge 's Ancient Mariner 41 

Parkman 's The Oregon Trail 42 

Shakspere 's Merchant of Venice 43 

Cooper 's Last of the Mohicans 50 

Cooper 's The Spy 52 

Palgrave 's Golden Treasury 53 

Goldsmith 's Vicar of Wakefield 55 

Hawthorne 's Twice Told Tales 56 

Dickens 's A Tale of Two Cities 57 

Shakspere 's Julius Caesar 59 

Scott 's Ivanhoe 60 

Franklin 's Autobiography 73 

Irving 's The Sketch Book 74 

Poe 's Poems and Tales 77 

Hawthorne 's The House of the Seven Gables 78 

Longfellow 's Narrative Poems 80 

Whittier's Snow-Bound 81 

Lowell 's Vision of Sir Launf al 81 

Shakspere 's Macbeth 86 

Addison 's The Sir Eoger de Coverley Papers 89 



GENERAL INTRODUCTION 

This pamphlet is based upon Herrick and Damon's New Composition and 
Ehetoric, Newcomer's American Literature, Newcomer's English Literature, 
Twelve Centuries of English Poetry and Prose, and the Lake English 
Classics. It meets the College Entrance Requirements for 1915-1919, and 
supplements the "Course of Study for the Public Schools" of Texas, 
outlined by the State Superintendent. In order to prove concrete and 
definite, this manual considers the work week by week — not mechanicallyj 
it is hoped, but suggestively. The authors have drawn freely upon the 
helpful suggestions found in A Handbool: for English Teachers by S. R. 
Hadsell and A Teacher's Manual by Prof. George L. Marsh, and desire 
to acknowledge their indebtedness to these authors. 

PURPOSE 

(a) To outline in detail a plan for the English work during the four 
years of the High School; (b) To assist the pupil who will leave school when 
the course is finished as well as the pupil who will go to college; (e) To 
assist teachers in doing a few things thoroughly, also to help them unify 
and fit together and emphasize the work of the four years. 

MEANS TO THIS END 

(a) Suggesting appropriate material (including subjects of local inter- 
est as well as subjects based upon the Classics) for abundant practice in 
oral and written composition; (b) Relating the fundamental principles of 
composition and rhetoric to a few standard classics;- (c) Suggesting an 
outline of the work, arranged in weekly units; (d) Offering (it is hoped) 
a few practical suggestions upon: (1) The relative amount of time that 
should be given to the text (Herrick and Damon), to the composition work, 
and to the Classics; (2) The Classics to be read in class; also those for 
home reading. 

Since systems are a means to an end, and are of less importance than 
the work to be accomplished, the wise teacher will use such points in this 
pamphlet as appeal to him, such points as he may adapt to the needs of 
the school and his pupils. He may have three years of English instead of 
four. He may need to fit together the kinds of work he has to do in a 

r; 



6 teachers' manual 

different way. He may have inherited a course which he cannot revise 
immediately. He may not be able to secure all the books he needs for the 
school library, or for the home readings. But whatever the local conditions, 
it is hoped that even the experienced teacher may find some useful hints in 
this pamphlet, and that the teacher with less experience may find here a 
guide through the tangled way of textbooks, classics, and theme writing 
to economic and efficient accomplishment. 

The plan outlined in the following pages provides for the study of 
composition and literature throughout the High School course, but suggests 
more writing in the first two years than in the last two, and more reading 
in the last two years than in the first two. Moreover, it suggests that the 
Herrick and Damon be used intensively for the first few weeks, by a close 
study of its principles and by an application of them to subjects of oral and 
written composition; and then that a classic or two be studied intensively, 
both for the literature and for a review of the text through composition 
subjects based upon the classics studied. For example, the manual suggests 
that the Herrick and Damon be studied and applied through Chapter V. for 
the first month, also that Treasure Island be read through rapidly out of 
class; and that the second month be given to some of the selections in the 
Elson Reader, Eighth Grade, also to a detailed study of Treasure Island. 
This plan will enable the teacher to treat the Chapters of the text, also 
the classics read, as a whole, and will therefore give unity to the work. 
It will also enable the teacher to correlate the composition work and the 
literature, to apply the principles of the text as learned, and thus fix and 
vitalize them. This same general plan will be followed throughout the 
first year, except that more and more attention will be given to the classics 
and less and less attention to the text as we proceed in the work. In addi- 
tion to the intensive reading of one or more classics for each three months 
of the year, this plan provides for the home reading of a few classics which 
are grouped to include both poetry and prose and various types of literature. 
These extensive readings are arranged to supplement the textbook, and 
to awaken an interest in reading. They are also adapted to the ages of the 
pupils. 

Time is allotted throughout the work for frequent reviews. However, 
the teacher may wish to arrange the time differently. Reviews should be 
frequent and thorough; each week the work should be connected with the 
previous week; each day the work should be connected with that of the 
previous day. Often written reviews, five or ten minutes in length, at the 
beginning of the class hour, will awaken interest and test the pupil 's 
preparation for the day. When sections of the textbook are completed, 
or when classics studied in the class are finished, review should be required. 



teachers' manual 7 

FOUR YEAR COURSE OF STUDY FOR TEXAS SCHOOLS 
(To be used with Herrick and Damon's New Composition and Rhetoric.) 

First Year 

Pirst Three Months. Herrick and Damon 's New Composition and Ehetoric, 
Chapters I.-VI. Readings: (a) "Paul Revere 's Ride," "The 
Charge of the Light Brigade, " " Incident of the French Camp, ' ' 
"Herve Riel,"* " To a Waterfowl," "Rip Van Winkle," "The 
Great Stone Face, " " Snow-Bouad, " " Regulus Before the Roman 
Senate, " " The Return of Regulus, " " Spartacus to the Gladia- 
tors, " " Rienzi 's Address to the Romans, " " England and Her 
Colonies" (all these selections may be found in the Elson Beader, 
Eighth Grade) ; (b) Treasure Island.f 

Second Three Months. Herrick and Damon's Neio Composition and 
Ehetoric, Chapters VII.-IX. Readings: (a) "How They Brought 
the Good News from Ghent to Aix, " " Song of the Chattahoochee, ' ' 
' ' The Destruction of Sennacherib, " " Marco Bozzaris, " " The 
Burial of Sir John Moore," "A Descent Into the Maelstrom," 
' ' Evangeline, " " The Chambered Nautilus, " " Old Ironsides, ' ' 
"The Last Leaf," "Napoleon Bonaparte," "The True Grandeur 
of Nations," "Peace, the Policy of a Nation," "Supposed 
Speech of John Adams," "Lincoln's Gettysburg Speech" (all of 
these selections may be found in the Elson Reader, Eighth Grade) ; 
(b) Dickens's Christmas Carol, Scott's Lady of the LaTce. 

Third Three Months. Herrick and Damon's New Composition and Ehetoric, 
Chapters X, XI. Readings: (a) " To a Skylark" (Shelley), "The 
Cloud," "For A' That and A' That," "Selections from Shake- 
speare," "The Raven," "The Vision of Sir Launfal," "The 
Marshes of Glynn, " " The Man Without a Country, " " The Evils 
of War," "South Carolina and the Union," "Webster's Reply to 
Hayne," "Washington's Farewell Address," "The Memory of 
Our Fathers," "Kipling's Recessional"; (b) The Merchant of 
Venice, The Oregon Trail, The Ancient Mariner. 

SUPPLEMENTARY READINGS FOR THE YEAR 
(a) Two novels from this list: Silas Marner,f Kidnapped,^ Rohinson 

Crusoe; (b) One book from this list: Franklin's Autiobiography, Irving 's 

Sketch Booh, Payne's Southern Literary Readings, Pilgrim's Progress; 

(c) One of these units of poetry: Poe's Poems, A Midsummer-Night's 

Dream. 

* For the following and otbcr selections, see Elson Manual, supplied free of 

charge by Scott, Foresman and Co. 

t Classics represented in Simons and Orr's Dramatuation. 



TEACHERS MANUAL 



Second Year 



First Three Months. A review of the work in Herrick and Damon during 
the first year occupies the first two weeks and this is followed by 
the study of Chapters XII and XIII during the third and fourth 
weeks. The Last of the Mohicans is then read in the next three 
weeks. The eighth week is given up to Chapter XIV, and the 
last four weeks to The Golden Treasury. The Spy is also used 
for the supplemental reading during this period. 

Second Three Months. The first two weeks are devoted to Chapter XV in 
Herrick and Damon, the next four weeks to Twice Told Tales, the 
following four weeks to the study of the number of words, 
Chapters XVI and XVII in Herrick and Damon, and in the 
last two weeks is begun the study of Julius Caesar. During this 
period The Vicar of Wal'efield is completed in the supplemental 
reading, and A Tale of Two Cities begun. 

Third Three Months. During the first two weeks Julius Caesar is com- 
pleted, and in the second week Chapter XVIII of Herrick and 
Damon begun. The remainder of the period is devoted to com- 
pleting Chapter XVIII, and studying Part Four, Chapter XIX- 
XXIII. In the supplemental reading A Tale of T\vo Cities and 
Ivaiihoe are completed. 



SUPPLEMENTAEY READINGS FOR THE YEAR 

The Spy, The Vicar of Wal'efield, Ivavhoe, A Tale of Tico Ciiies. 

The following poems taken from the Golden Treasury are to be 
memorized: "The Happy Heart" (100), "The Man of Life Upright" 
(102), "Character of a Happy Life" (or On His Blindness) (126), "Go, 
Lovely Rose" (141), "To Daffodils" (161), "Solitude" (186), "Ode 
Written in 1746" (194), "Gray's Elegy" (first fourteen stanzas), (222), 
"She Walks in Beauty" (256), "The Education of Nature" (259), 
" Hohenlinden " (293), "After Blenheim" (194), "The Burial of Sir 
John Moore" (297), "The Death Bed" (315), "The Daffodils" (341). 



TEACHERS MANUAL 



Third Year 



First Three Months. A review of the second year's work in Herrick and 
Damon is given during the first two weeks. The remainder of 
the time is then devoted to Part Five of tlie New Composition 
and Rhetoric, beginning on page 427. The chapters on Descrip- 
tion, Narration, Exposition and Argumentation are studied in 
turn. 



Second Three Months. With the beginning of the second twelve weeks, 
the study of Newcomer's American Literature is taken up. The 
first three chapters of the text are studied during the first week, 
and then Franklin 's Autobiography is studied for two weeks. 
Irving 's life and The Sketch Book occupy the next five weeks. 
Cooper, the minor poets, and Bryant occupy most of the follow 
ing two weeks, and the remainder of the time is taken up with 
Poe, his poems, and tales. 



Third Three Months. The last three months are also devoted to Ameri- 
can Literature. Hawthorne and The House of the Seven Gailes 
occupy the first four weeks, and the remaining weeks are given in 
turn to Emerson, Thoreau, the historians, Longfellow and his 
Narrative Poems (two weeks), Whittier, Lowell, Holmes, the 
Southern poets, and the later movements in the South, West, 
and East. 



SUPPLEMENTAEY READINGS FOR THE YEAR 

Dana's Two Tears Before the Mast, Orations of Washington, Webster, 
and Lincoln, Irving 's Tales of a Traveller, and Emerson's Essays and 
Addresses. 

The following poems should be memorized: 

Longfellow 's ' ' The Psalm of Life, ' ' and ' ' The Day Is Done ' ' ; Bryant 's 
' ' Thanatopsis, " " The Death of the Flowers, " ' ^ To a Waterfowl, " " The 
Gladness of Nature, ' ' and ' ' The Yellow Violet ' ' ; Holmes ' ' ' Old Ironsides, ' ' 
"The Last Leaf," and "The Chambered Nautilus"; Poe's "Annabel 
Lee"; O'Hara's "The Bivouac of the Dead." 



10 teachers' manual 

Fourth Year 
First Three Mouths, (a) Newcomer's History of English Literature, Chap- 
ters I.-XII. (b) Keadings: Beowulf, Prologue to The Canterbury 
Tales, The Nonne Preestes Tale, the Ballad, The Sonnet, Faerie 
Queene (The Knight of the Red Cross), Macbeth, Bacon's Essays, 
Caroline Lyrics, L' Allegro, II Penseroso, Selections from Paradise 
Lost, Selections from Dryden. (All of these selections except 
Macbeth may be found in Newcomer and Andrew 's Tivelve Cen- 
turies, published by Scott, Foresman and Company, Chicago.) 
Second Three Months, (a) Newcomer's History of English Literature, 
Chapters XIII-XVII. (b) Readings: The Essays of Addison, 
* ' Essay on Criticism, " " Essay on Man, " " The Deserted Vil- 
lage," "The Cotter's Saturday Night," "Tarn O'Shanter," 
"To a Mountain Daisy," "To a Mouse," "Tintern Abbey," 
"Ode on Immortality," "The Daffodils," " Christabel, " "The 
Prisoner of Chillon," "Alastor," "Ode to the West Wind," 
"The Eve of St. Agnes," "Ode to a Nightingale," "Ode 
to Autumn, " " Ode on a Grecian Urn, " " Lamb 's Essays, ' ' 
"Selections from DeQuincey. " (All of these selections may 
be found in Newcomer's Twelve Centuries.) 
Third Three Months. "The Lady of Shalott," "Oenone," "The Lotus 
Eaters," "Saint Agnes' Eve," "Sir Galahad," "Morte 
D 'Arthur," "Ulysses," "Locksley Hall," "Rizpah," "Crossing 
the Bar, " " Break, Break, Break, ' ' selections from ' ' In Memo- 
riam," "Cavalier Tunes," "My Last Duchess," "The Pied 
Piper of Hamelin, " " Saul, " " Childe Roland to the Dark Tower 
Came, " " Rabbi Ben Ezra, " " Rubaiyat of Omar Khayyam ' ' ; 
selections from Clough, Arnold, Morris, Swinburne, The Rossettis ; 
prose selections from Macaulay, Newman, Arnold, Huxley, Froude, 
Ruskin, Stevenson. (Newcomer's Twelve Centuries.) 

SUPPLEMENTARY READINGS FOR THE YEAR 
Everyman, selections from prose writers of the early English period, 

Doctor Faustus, The Tempest, Volpone, Quentin Bur ward. All students 

should read Quentin Durward and one of the plays. 

Sir Boger de Coverley Papers, one of Tennyson's Idylls of the King, 

and either Adam Bede, or David Copperfield. 
Sesame and Lilies, Henry Esmond. 



INTRODUCTION TO THE FIRST YEAR'S WORK- 

Specific Aim 

(a) In Writing: Correctness in spelling, punctuation, sentence making; 
practice in paragraph-writing, in letter-writing; neatness; habits of 
punctuality in the preparation and presentation of themes. 

(b) 771 Speaking and in Reading: Distinct enunciation; proper pro- 
nunciation, position, emphasis; voice culture through practice in reading 
aloud; interest; intelligent reading; increased correctness in writing and in 
speaking as a result of reading. 

CLASS WORK 

(a) In the Eerrick and Damon: For convenience, the work of the 
text is outlined in periods of three months each (see page 7 of this 
Manual). In each division of three months, attention should first be given 
to the Herrick and Damon. After students have weU in mind the prin- 
ciples of the text, they should apply these principles (both orally and in 
writing) to composition subjects of local interest, to some of the exercises 
suggested in the text, and to composition subjects based upon the classics 
read. Appropriate passages may be selected from the readings as illustra- 
tions of the principles of the text. 

(b) In Composition: Compositions should frequently be written during 
the regular recitation period. This will be a good test of the students' 
ability to think rapidly and accurately — to organize and develop material 
under pressure, — which cultivates spontaneity. It may be well, at times, for 
the teacher to give a certain amount of assistance in these compositions. 
Most compositions to be written during the recitation period should be 
based upon subject matter with which the students are familiar. 

GENERAL SUGGESTIONS 

(a) Subject: An effort should be made, during the first week, to arouse 
an interest in the subject of English; to bring the pupils to realize, even for 
practical purposes, the advantages of correct English over incorrect English 
— the practical use of clear and forceful English in school life, in the social 
world, in business, and in the professions. 

11 



12 teachers' manual 

"The merchant needs to know how to write clear, forceful letters, how 
to make clear contracts, and how to explain in a convincing, interesting way 
the merits of his goods. Traveling salesmen need to know the principles 
of argumentation. In the commercial club, upon the council, and upon the 
school board, for example, the citizen needs to know how to use his mother 
tongue with good effect. The engineer needs to know how to explain his 
proposition for city waterworks or an interurban railway. The lawyer 
needs to know how to weigh and value evidence, and how to address a jury. 
The teacher of any subject needs to set a good example, and he, as well 
as all other business and professional men, should know how to write a 
good letter, which may secure him a better position. The doctor has need 
of effective expression when he comes to explain his ideas to the public 
upon a measure for the protection of public health. Socially, in all public 
and private relations, the young woman, the business man, and the 
professional man should be cultivated, interesting talkers." 

English teachers should be thoroughly acquainted with the varied 
activities of student life, with the different forms of athletics, with the 
industrial life of the town, with bits of scenery good for descriptive sub- 
jects, with local stories of interest, and they should draw upon these fre- 
quently for subjects in composition. All composition work should be begun 
from the standpoint of the pupil, both in the subjects selected for compo- 
sition and in the methods of treating them. The fundamental principles 
of the text should be reviewed constantly, through an application of them 
to the subjects for composition. This method will bring out the practical 
value of these principles and at the same time vitalize them as no mere 
memorizing of them can do. 

(b) Composition Work: The composition work may be very profitably 
begun by an informal discussion upon some topic of local interest. The 
teacher should acquaint himself with a few appropriate subjects before he 
meets his class. The discussion of a few subjects of this character will 
enable the teacher to get the pupils' viewpoint, to understand the character 
of their thinking, and their ability to think. Such discussions often assist 
in bridging over the distance which sometimes exists between pupil and 
teacher. The exchange of ideas upon a subject of common interest, upon 
a subject about which the pupils already have thoughts and feelings and 
in which the teacher has interested himself for a purpose, is like the meeting 
of old friends. 

Just as soon as these friendly relations between teacher and pupils have 
been established, pupils may be asked to suggest subjects of their own think- 
ing. The possibilities of these subjects should be discussed in class, unC 
their weak and strong points indicated and commented upon. 



teachers' manual 13 

After students realize that their everyday experiences contain good 
material for composition subjects, a list of the subjects previously dis- 
cussed in the class should be placed upon the blackboard, and the class 
required to write a one-page composition based upon any one of these 
topics. In these first compositions emphasis should be placed upon the 
pupil's ability to think, to organize and develop his material. The teacher 
should take up the first set of compositions, go over each one carefully, 
make a note of the kind and degree of each pupil's ability, also of the 
fundamental errors to vrhich each pupil is inclined. I'he teacher is then 
in a position to proceed in his work without the loss of time, and he can 
more wisely direct the pupils along the lines of their several inclinations 
and abilities. The knowledge gained in this preliminary step will suggest 
to the teacher that he should encourage here, stimulate there, and, in the 
case of a few students, suppress wrong tendencies and correct erroneous 
ideas. Mechanical errors should be treated systematically, but incidentally 
only. It is well for the teacher to be on the lookout at all times for errors 
in spelling and punctuation and grammar, but he should direct his energies 
in theme criticisms mainly to matters which the class is discussing at the 
time. Cold, unsympathetic criticism will increase a natural dislike for 
writing. Eed ink should be used sparingly, unless carelessness or sloven- 
liness is evident, — never when the student is putting forth his best efforts. 
Composition should be a constructive and not a destructive process. 

At this stage, student compositions should be written upon the black- 
board frequently, and a common-sense discussion of them by the class, with 
an occasional suggestion from the teacher, should be entered into freely 
and frankly. These discussions, under proper guidance, will develop the 
student's judgment and cultivate his taste. And though students should be 
given credit for suggestions indicating thought, they should not be per- 
mitted to squander time by wandering too far from the subject in hand. 

(c) Outside Beading: Pupils should carry on reading in the school 
library or at home throughout the year. They will be given freedom to 
enjoy what they read, but they will be held responsible for reports, either 
written or oral, regularly. The teacher will give out the list of supple- 
mentary reading the first day and explain that pupils will be required to 
read two books from "a," one book from " b, " and one book from " e," 
as outlined on page 7 of this Manual. In the first week, he should try to 
awaken an interest in the readings. To do this, he may explain the general 
nature of the classics in the assignment and tell the class what books he 
himself has enjoyed and what particular details interested him. He may 
give the class some idea of what to look for in each book. 

The reports on the outside reading may be oral, written themes, or 



14 teachers' manual 

special reports kept in a notebook. (The teacher will be interested in 
A Blank Book with Suggestive Headings for Reading Reports, by B. A. 
Heydrick. — Scott, Foresman and Company.) The teacher may call for 
this written work on a portion of* the book at any time. The pupil makes 
the report to fix the readings more firmly in mind, and to let the teacher 
know that he is reading in the right way. Some reports may be dram- 
atizations of parts of books, some worked out according to a scheme pre- 
pared by the teacher whose purpose is to get the pupils to look for the 
right things. The following is suggested as a pattern which the teacher 
may adapt to his uses and to the various kinds of books which pupils read: 

(1) Learn the story thoroughly. Select several of the best thoughts 
or truths in the book, and express them in your own language. 

(2) Who is the author of the book? (A short paragraph of well 
selected biography is desired.) 

(3) When did he write this book and under what circumstances? 

(4) Put into one paragraph answers to the following questions: Did 
you like the book? Why? Were you interested more in the story, or in 
the characters? If in the story, what were its good points? Its weak 
points? With what characters did you sympathize most? Why? Were 
you satisfied with the outcome of the story? If not, in what way would you 
change it? What is the main theme of the book? Does the author stick 
to this theme? If not, at what points does he digress? What part of the 
book ajjpealed to you most? In what way? Are there any dramatic situa- 
tions in the book? What makes them dramatic? Has the book a moral? 
How were you affected by the book as a whole — uplifted, or depressed? 
In what ways? What new thoughts did you get from the book? 

' ' Dramatization of the literature studied is one of the most successful 
of all devices for vitalizing the work of the English class." Most teachers 
of English are inexperienced in this work, and therefore hesitate to under- 
take it in any form. However, the importance of this work, and its growing 
use in the schools, should interest every teacher of English to prepare him- 
self to undertake this work, at least on a small scale. Dramatization, by 
Sarah E. Simons and Clem Irwin Orr, published by Scott, Foresman and 
Company, gives valuable suggestions on the ' ' purpose and method ' ' of this 
work, also the dramatization of many standard English classics. 



FIRST YEAR BY WEEKS 

FIRST THREE MONTHS 

(FIRST MONTH) 

FIRST WEEK 

Specific Aim: Motivating the subject and arousing an interest in the work. 
Give the first week to the following points : 

(a) Outlining and explaining the readings for the year (see page 7 of this 
Manual). 

(b) -Vrousing an interest in the subject of English (see pages 11, 12). 

(c) Completing Chapters I. and II. of the Herrick and Damon, 

The teacher should be definite in his lesson assignments. It may be well to 
suggest in advance the main points to which the student is to give attention. 
The teacher should insist upon the importance of having all the work done 
promptly, neatly, and well. 

Questions and Suggestions on Chapters I. and II. of the Text 

How do you account for the difference in the selections on page 18 of the 
text? Is this difference due to the convictions of the writer with respect to his 
subject? to the subject itself? or to the method of handling it? Which passage 
is most effective in the suggestiveness of the words used? Point out particular 
instances of this effectiveness and try to account for it. Are there any phrases 
or sentences in either selection which could be omitted? Any which could be 
Improved upon by reconstructing them, or by changing their position? 

Is the subject-matter of the theme on page 26 interesting? Is the interest 
general or local? To whom would a subject of this nature appeal most? Mention 
some of the things that aid in making a subject interesting. (Human life in dan- 
ger — any human interest, selfish or unselfish, involved ; some purely artistic 
pleasure — a beautiful bit of scenery ; some sport in which competition Is strong — 
boating, bathing, a ball game.) Mention two subjects in which the interest may 
be selfish ; two in which the interest is unselfish. 

What is the nature of the narrator's interest in the theme, page 26? What 
gives the touches of nature an added interest? What is the state of the nar- 
rator's feeling? What is suggested as to his experience in the sport? Is 
his behavior natural? Is the language used by the guide true to his station? 

SECOND WEEK 

Specific Aim: To awaken pupils to the necessity of personal knowledge and 
experiences in themes, and to arouse in them a desire to increase their knowledge 
and experience, and to emphasize and fix (through compositions, oral and 
written) the principles of the text. 

15 



16 teachers' manual 

Recitations 

Text, Chapter III, 

Written Work 

Have pupils suggest topics of local interest. Discuss their appropriateness. 
Indicate their possibilities. Place a list of the most desirable subjects upon the 
blackboard. For Friday of this week a composition of 300 words or more, based 
upon one of these subjects, is due. On Friday have a few compositions written 
upon the blackboard for a class discussion, others read in the class and dis- 
cussed. The remaining composition should be taken up. 

Home Readings, Treasure Island. This book should be read through rapidly, 
and finished by the end of the third week. A detailed study of this book will 
be made during the second month. 

Monday: An informal oral discussion of topics of local interest, topics with 
which the pupils are more or less familiar. "The writer's interest in his sub- 
ject is fundamental." Pupils naturally are interested in the life about them. 
The approach to composition through their own experiences is less formal, is 
the natural method of approach, and will tend to take away some of the 
"terrors" of composition writing. The pupils will soon come to realize that many 
of their everyday experiences, occurrences in the life about them, are worth 
while for composition subjects. 

A Suggestive List of Subjects 

A Vacation Trip to , Camping on the River, Marketing Elberta 

Peaches, The Round Up, A Visit to Ranch, Learning to Run an Auto- 
mobile, Irrigation in the Valley, The Value of Moving Picture Shows, A 

Sugar Refinery, Shipping at Galveston, A Rice Plantation, A Lumbering Camp, 
Breaking a Broncho, The Exports of Texas, The Imports, Some Local Legend, 
A Bit of Description in Nature, Some Interesting Building, Park. 

For the first year most of the work in composition should be confined to 
narrative and descriptive subjects. The class discussions of these subjects will 
give the pupils an idea of what will be expected in their compositions due on 
Friday of this week. 

Tuesday: A study of the text, pages 34-41. Pupils should understand 
thoroughly the main points of the text before they attempt to write composi- 
tions upon subjects involving a use of these principles. 

Further Discussion of Theme Subjects 
1. Subjects from our own experience. 

Students should be encouraged to keep a pocket notebook, to make entries 
of things they see and experience, to think them over, and to practice telling 
them before they begin to write about them. In general, there are two classes 
of compositions : (a) compositions of fact, (b) compositions of imagination. 
In the first class we stick more or less closely to the actual ; in the latter, we 
add touches of our own. Compositions of "fact" should be based, for the 
most part, upon subjects of local interest. It is for this reason that every 
teacher can best assist his own class in selecting the most appropriate subjects 
for composition. 



teachers' manual 17 

2. Subjects taken from our studies. 

(a) Geography. The following is merely a suggestive outline for a com- 
position on "A Trip Down the Nile." We may suppose that the two branches of 

the Nile ( ) are cousins. Each is preparing to go on a long journey — 

perhaps never to return. The rising in Lake bids the lilies, etc., 

good-bye ; the rising in the Hills takes its farewell of (things 

about its source). Soon after these streams meet, they begin to talk (the noise 

made by the river flowing over the Desert) of their childhood home and 

what they saw on their way to the place of meeting. At length they grow 
weary of conversation (they are now flowing over the level plains of Egypt, 
and are interested in what they see — state some of these things — on the banks 

of the ) Finally, they reach the Sea, and there they bid each 

other good-bye forever. 

Plan a trip down the Hudson, the Rhine, the Amazon, the Ganges. Read 
some of the "Famous Rides" in the flrst part of the Elson Reader, Eighth 
Grade, and then plan similar stories of your own imagination. Vary the nar- 
rator — a schoolboy to his companion, a teacher to his class, etc. Write a com- 
mand from Washington to one of his subordinates; a conversation between 
Washington and Lafayette. 

Note : Most subjects under number "2" should be so stated that pupils will 
be compelled to use their imagination or their reason — not subjects that allow 
too free use of the facts of the selection upon which they are based. 

3. Subjects from our reading. 

Students should be encouraged to make lists of subjects based upon 
their home readings. Such lists will assist the teacher in ascertaining the 
viewpoint of the different pupils, and at the same time enable him to see what 
in the different books appeals to different pupils. Pupils should make free use 
of such magazines as the following, Harper's, The Century, etc., also some stand- 
ard daily newspaper, some good scientific magazine, and some good magazine on 
current events. Such source material will often serve as a model and at the 
same time suggest material for original compositions. 

' Suggested Notes on Text Discussion 

Make a list of five good narrative subjects suggested by the life about you. 
What local characters might you introduce? What would you have them do or 
say? What bits of scenery in your community would be appropriate for a 
background ? 

Note : It is usually best to begin Narration with the working out of a 
composition confined to one simple incident. The next step would be to write 
a series of connected incidents. In all stories for the first year, the characters 
should be few, the plot simple, and the descriptions short. 

Special attention should be given to paragraph 10, page 40, of the text. 
Knowledge of a subject always precedes interest in a subject. For this reason 
the writer should first of all inform himself about a subject. He should have 
strong feelings and deep convictions before he begins to write. 

Wednesday: An application of the principles of the text learned on Tuesday 
to some of the Exercises of the text, pages 43-46. A part of the recitation 
period might be given to an oral discussion of a few of the exercises ; the 
rest of the recitation period should be given to a class discussion of compositions 



18 TRA.CHERS' MANUAL 

based upon some of the exercises of the text. A few of the compositions should 
be read in the class ; others should be placed on the blackboard for a class 
discussion. Good feeling should be the dominant note in all criticisms and 
discussions. (See page 12 of this Manual.) The teacher should try to get each 
pupil to take a critical interest in his own theme. By this time he may be in a 
position to suggest to different pupils what composition subjects will suit them 
best. The following exercises of the text are suggested : III., IV., VIII., IX., 
page 44 ; X., page 4o ; XI., page 46. All compositions that are not read in the 
class or placed upon the board for a class discussion should be taken up at the 
close of the recitation. This will impress upon the pupils that each one will 
be held directly responsible for every day's recitation. If the teacher's time 
justifies giving personal attention to all of the compositions, it may be well to 
have them all taken up at the close of the recitation. But it is never well to 
take up compositions and have the pupil hear no more of them. Review the ques- 
tions on pages 41-43 of the text. 

Thursday: Subjects from Readings discussed — books for parallel readings, 
magazine articles read, newspaper clippings, etc. Some attempt may be made 
to classify the subjects discussed, as narrative, descriptive, expository, or argu- 
mentative. The purposes of this recitation are as follows: (a) to encourage 
pupils to be alert in quest of good subjects, (b) to develop in them a desire and 
an interest in self-expression, (c) to ascertain early in the work whether the 
pupils are giving the outside reading the proper attention — are finding the vital 
things in the books, have the right attitude toward literature. This recitation 
will, also, impress upon the pupils that their outside reading is an important 
part of their work, and that they will be held responsible for it all along 
throughout the year. Pupils should have ready for this recitation a written 
list of titles ; the teacher may call for this list to be read, and then ask other 
members of the class to suggest the most appropriate titles. Some attention 
should be given to the proper phrasing of these titles. Pupils will not always 
find the best things in the books, but they should be given credit for all good 
thinking done. Inasmuch as all pupils will not be reading the same book, it 
may be well to confine this recitation to Treasure Island. This would not exclude 
the subjects based upon magazine articles and newspaper clippings. 

Friday: Give the time of this recitation to the following : 

.(a) Have a few of the themes due on this date road by different members 
of the class. Others placed upon the blackboard for a class discussion. An 
attempt might be made to classify a few of the themes (see pages 38-39 of the 
text), but most attention should be given to a discussion of how well the 
material has been organized and developed. Hearing these compositions read 
will encourage or stimulate pupils to do as well as their classmates. These 
compositions will, also, be for the teacher the first information as to how well 
the pupils have learned the principles previously emphasized in the class. 

(b) A theme is to be written in the class and criticized in the class. This 
theme should not occupy more than one page, and not more than one-half of 
the recitation period should be given to it. The title should be submitted after 
the class is through discussing and reading the themes under "a," and should 
be from the exercises of the text previously discussed in the class, or from some 
topic of local interest previously discussed in the class. Perfect attention to 
all class discussions is necessary to the highest efficiency in the work. If pupils 
know that a composition is likely to be called for, dealing with some subject 
which has been treated in the class, they will give better attention during the 



teachers' manual 19 

recitation, and will perliaps bave a good deal of such material already 
organized. 

At the close of the recitation both sets of compositions should be taken up 
by the teacher. 

THIRD WEEK 

Specific Aim: Appreciation of the possibilities of a given subject; learning 
how to limit, or narrow, a subject selected ; understanding of the characteristics 
of a good title. 

Recitations and Written Work 

Monday: Text, Chapter IV. Students should continue to outline the main 
points of the text. 

Tuesday and Wednesday: An application of the principles learned on Mon- 
day to some of the Exercises of the text, pages 52-58. See the Summary on 
page 51, also the Review on pages 53-54. 

Thursday: A theme is to be written during the recitation period. The 
subject for this theme should be assigned after the class meets, but it should 
be based upon some one of the exercises discussed on Tuesday and Wednesday. 

Friday: A theme of 300 words or more, based upon Exercise XL, page 46, 
of the text, is due. The recitation period may be given to having a few of the 
compositions read and discussed, also to a general review of the main points 
of the text, Chapters III. and IV. 

Home Readings 

By this time the teacher may begin referring to descriptive passages of 
persons, places, buildings, etc., good incidents, etc., in the different books that 
are being read by the class. This will keep up interest in the outside readings. 
The teacher should have a list of the books that are being read by each pupil. 

General Suggestions 
(Chapter IV. of Text) 

1. Examining a subject to discover Its possibilities. A few illustrative 
examples : 

I. Description. Let us suppose that we are to write an advertisement for 
"A Lost Horse." The first consideration here, as in all descriptions, is the "pur- 
pose" of the description. It is evidently a question of "identity." Now, what 
elements enter into such a description? (a) A general description of the horse's 
size, color, etc., (b) those "peculiarities" that distinguish this horse from all 
other horses. 

The student is given, for a composition subject, the describing of some 
important building In the town or community. How shall he go about it? 
(a) What is the purpose of the description — to produce a favorable or an 
unfavorable impression? (b) What position shall the writer select in order to 
be able to see the details that will produce the desired impression? The writer's 
situation is similar to that of a photographer who wishes a picture of the 
building : the photographer walks around the building, camera In hand, and 
finally selects that point which will give the best picture for his purpose. 
The camera will include only those details that fall within its range ; the 



20 teachers' manual 

writer must tell only what he can see. The camera will include all of the 
details ; the eye, supported by selective judgment, must include only the salient 
features best suited to produce the desired impression, and leave the imagina- 
tion to fill in all of the minor details. 

II. Narration. A cook and her mistress have a quarrel over some burnt bread. 
Is this a good subject for a composition? This incident would more than 
likely be a "character incident," and the interest will center about what the 
characters say and how they say it. The spirit of the incident should be kept 
true to (a) the natural difference of positions of the characters, (b) the 
peculiarities of character. 

Note : In all narratives for this year select only a few characteristic inci- 
dents, and make these worth while. Do not comment upon the happenings. 
Let what the characters do and say be self-explanatory. Include nothing that 
is not vital in the chain of cause and effect. 

2. Questions of size and definitcncss : A question should be specific rather 
than general, concrete rather than abstract ; it should be so narrowed as to 
suit the al)ility, knowledge, and purpose of the writer. All classroom com- 
positions require the strictest limitations. 

In Stevenson's Treasure Island, Chapter XXX., we have this heading : "On 
Parole." The student cannot tell in a two-page theme all that Stevenson has 
given us, but he may be able to give us somewhat of a definite idea of "Jim's 
High Regard of Honor." 

FOURTH WEEK 

S^peciflc Aim: To emphasize the importance of planning work beforehand, 
to learn the best methods of developing descriptive and narrative subjects, the 
most appropriate beginnings and endings for descriptive and narrative subjects, 
the best us°s to be made of details and dialogue. 

Recitations 
Monday: Text, Chapter V. Compositions. 

Suggested Qdestions 

Give three reasons why it is necessary to have a plan before beginning to 
write. Apply these principles to life. What kind of house could a carpenter 
build without a plan? Give reasons why it is necessary to put a plan into 
writing. A good outline bears, in a way, the same relation to the finished 
composition that a "blue print" bears to the finished house. Give reasons why 
there should be some natural or logical order for the position of the different 
points of an outline. Give some difficulties that may arise through a failure to 
observe this order? 

Developing a Narrative Subject 

Suppose that we have this outline, taken from Hawthorne's American Note- 
Book: "A rich man leaves by will his mansion and estate to a poor couple. 
They remove into it and find there a darksome servant whom they are forbidden 
by the will to turn away. He becomes a torment to them ; and, in the finale, 
he turns out to be the former master of the estate." 



teachers' manual 21 

Questions : How shall this couple receive information of their good for- 
tune — by a letter, or by a lawyer who waits upon them? At what season of 
the year? At what hour of the day or night? What short incident would 
you use to emphasize their condition? What characteristics would you have 
them possess? Indicate the effect of the message upon them. How shall we 
get them from the cottage to the mansion ? Should much space be given 
to this? 

What characteristics shall the servant have? What kind of man would 
be likely to make this sort of will? What is the purpose of the story? Is the rich 
man looking for some one who will care for him in his last days, and seeking 
this means of testing character? Or is he proud of his estate, and wants some 
one who will take good care of it and keep it intact? In your narrative, are 
these poor people to disappoint his expectations, or to fulfill them? How 
many and what incidents shall you select to develop the story? How much 
dialogue would you use? 

All such questions as these should be settled before the writer begins to 
put his work on paper. 

The kind and amount of description in this story will depend upon the 
purpose of the story, the character of the incidents, and the characteristics 
selected for the characters. 

Tnesdaii and Wednesdaii: An aiDplication of the principles of the text, both 
orally and in writing to some of the Exercises of the text pages 74-84. 

Thursday: Apply the following principles of the text to Treasure Island: 
(a) Subjects drawn from our reading (page 36), (b) point out a few good 
descriptive passages, also a few good incidents (3 and 4, page 39), (c) find a 
few good subjects for composition, and then discuss their possibilities, their 
size and definiteness, and the appropriateness of the titles (Chapter IV.), (d) 
select a few passages for observing the "beginnings and endings" (page 67), of 
descriptive and narrative forms of discourse, the use of details (page 70), the 
use of dialogue (page 71.). 

Friday: The first report upon the outside readings. Even though all of the 
book has not been finished, it will be well to discuss the first part of the dif- 
ferent books that are being read. This will give the teacher an opportunity to 
learn how well the outside reading is being done. If the teacher prefers, this 
report may be a dramatization. (See Simons and Orr's Dramatization.) 

(SECOND MONTH) 
FIFTH WEEK 

Specific Aim: Arousing an interest in Stevenson and his work. 

A sample week of class exercises on Stevenson's Treasure Island. 

Monday: "Introduction to Treasure Island," pages 11-31.* The Teacher should 
attempt to arouse an interest in Stevenson and his works through such topics as 
the following: (a) Stevenson's Ancestry, (h) The Natural Drawbacks to a Suc- 
cessful Career, (c) Changes of Residence, (d) Stevenson as a Novelist, (e) The 
Creative Imagination of Stevenson, (f) Stevenson as a Student, (g) Stevenson's 
Travels, (h) A Romantic Love Affair, (i) Stevenson's Struggles, (j) The Per- 
sonality of Stevenson (see page 386 of Newcomer's English Literature). 

* All page references are to the Lake English Classic Edition published by 
Scott, Foresman & Co. 



22 teachers' manual 

Relate Stevenson and his work to what the class is doing by showing that 
Stevenson met and solved, in spite of great difficulties, the very problems the 
students are attempting. An inte.'esting discussion may be had on how Steven- 
son studied words (see page 13). If the school library has a complece set of 
Stevenson's works, a few of the above topics may be assigned to certain students 
for further investigation and report. 

Tuesday: Treasure Island, Part I. 



Teeasdub Island 
(Lake English Classics) 

Study the plot — its elements, their relations. 

A plot is "design applied to life." The characters should act in a manner 
consistent with their own natures and yet all they do and say should contributa 
to the general design of the plot. 

A good plot should have unity — unity of incidents, unity of character conduct, 
unity of tone description. The governing plot unity centers around the hero or 
the heroine of the story. As the main character develops, through incidents, we 
get more and more into the plot. Incidents reveal character, situations determine 
character. The plot incidents are those that are absolutely necessary to the 
life of the story- — omit one, and the chain of cause and effect is broken. If it is a 
character story, the author endows his main character with certain attributes, 
and then provides incidents that shall develop him along predetermined lines. 
Conduct should grow out of character. And yet, after we have observed the 
behavior of a character in a few situations, we learn to anticipate the probable 
behavior of this same character under a new set of circumstances. 

Kinds of incidents : (1) Plot incident, (2) Developing incident, (3) Char- 
acter incident, (4) Dramatic incident, (5) Commonplace incident, (6) Artistic 
incident. 

Forces that prompt character-conduct: (1) Some inner prompting, or 
external circumstance, (2) Heredity, (3) Some dominant motive, such as : selfish- 
ness, revenge, love, hate, a sense of duty or of right and wrong, love of adventure, 
fate, greed for gold. 

Two things are absolutely necessary to a thorough understanding of char- 
acter : (1) We must look at life from the point of view of the character, 
(2) We must consider the peculiar circumstances under which the character acts. 
It is not what we would do, or what the character should do, but what will 
he do, constituted as he is and surrounded by a given set of circumstances. 



CHAPTER I. 

(Read the Introduction to Treasure Island, Lake English Edition, pages 
11 to 29.) 

Has this story a formal or an informal opening? What are the chief 
characteristics of its setting? In what person is it told? Who are the leading 
characters of this chapter? What do we learn of them? In what way? What is 
the only clearly defined incident in this chapter? (3S) 



teachers' manual 23 

II. 

Stevenson says (40) that this chapter has an event. How many and what 
incidents has it? 

III. 

What induced Jim, contrary to the Doctor's orders, to give the Old Sea Dog 
the rum? What first led Jim to believe that the Old Sea Chest contained a 
mystery? What circumstances combined to make Jim the central figure in the 
early part of the story? Why did he not disclose the Old Sea Dog's story? (49) 
What is the climax of the incident in this chapter? (52) 

IV. 

Find illustrations of how sound may emphasize silence. (53) Point out 
evidences of Jim's bravery. (55) What offered him a natural and legitimate 
excuse for taking the oilskin packet? (57) What two incidents (57) prepare 
for this? Point out a dramatic incident (58) in this chapter, and explain why 
it is dramatic. 

V. 

Why have Jim hide under the bridge, close to the Admiral Benbow? What is 
the main point in the incident of this chapter? (Is it Pew's death? Or the 
fact that the officers came to Jim's rescue, and enabled him to escape safely 
with the oilskin packet?) Point out evidences of Jim's characteristic curiosity 
and lack of fear. (59) 

VI. 

What is the first compliment paid Jim for Ms conduct? (66) What led 
him to believe that the oilskin packet contained something valuable? What is 
the purpose of the delay in opening the packet? (66-67) 

Questions and suggestions on Part I. 

Summarize the incidents. Are they commonplace incidents, or dramatic? 
(Keep in mind that dramatic incidents are fraught with consequences.) Point 
out the plot incidents, the developing incidents. What character gives unity to 
the story? Illustrate, by a reference to specific occurrences, his chief charac- 
teristics. What forces prompt his conduct? 

What is Stevenson's method of description — by details, or by a few bold 
strokes? Note carefully the following descriptions: 

The Old Sea Dog. (33) The Old Sea Chest. (56) 

A January Morning. (40) Three Descriptions. (65) 

Black Dog. (40) Treasure Island. (69) 
Pew. (50) 

Wednesday: Treasure Island, Part II., pages 71-105. 



PART TWO 

VII. 

Give the contents of the Squire's letter. What do you consider its most 
important point? What is its dominant tone? 



24 teachers' manual 

VIII. 

How did Black Dog's hasty departure (77) affect Jim? Outline the 
arguments employed by Silver to allay Jim's suspicions. What virtue did Silver 
resort to in order to convince the Doctor and the Squire of his honesty? How 
is the Doctor impressed with Silver? Give Jim's characterization of Silver. 
(79) What was Silver's knowledge of sea life? (80) 

IX. 

Give in order the points of Captain Smollett's dissatisfaction. (82-3) Give 
three suggestions which he offered for the Squire's consideration. (84) What is 
the significance of the incident in this chapter? 



Suggest some reflections aroused in Jim by the song; some emotions. (88) 
Why did he keep these a secret? What was the first realization of the Captain's 
suspicions? What new insight do we get of Silver's character? Why introduce 
it here? What are the relations of Smollett and the Squire now? In whose 
favor have circumstances turned the argument? Upon what prophetic remark 
did the Captain hit? (92) 

XI. 

Is this the first meeting of the conspirators? Is their plot unfolded directly 
or indirectly? Why is this most effective? Who is the leading spirit of the plot? 
For what purpose have the conspirators been meeting? What intensifies Jim's 
dramatic situation? In what forms does relief come? Is this natural? 



XII. 

How does Silver explain his accurate information of the Island? What 
characteristic of Silver is brought out by the Captain's display of the new 
chart? Compare Jim's characterization of Silver here with that on page 79. 
IIow did Jim provide an opportunity for telling his story without arousing 
suspicion? How does the Captain meet the Squire's confession that he had 
been in the wrong? What suggestions does the Captain offer as a possible 
relief from their situation? What part is Jim to play? (104-5) 

Note the following descriptions: The Spy Glass (76), Morgan (77), 
Arrow (82). 

Explain why the apple barrel incident is a plot incident. Are there any 
other plot incidents in Part II? Point out chapters that contain developing 
incidents — those chapters that merely provide an opportunity for something to 
happen. What is the most interesting occurrence in Part I.? Part II.? Can 
we this early in the story divine any of the motives that are prompting 
character-conduct? If so, state them. 

Thursday: Treasure Island, Part III., pages 106-123. 



teachers' manual 25 

part three 

XIII. 

In what respects is the description of the Island symbolic? (106-7) Uow 
does the anxiety of Silver (108) emphasize the dramatic situation at this point? 
In what form does relief come? How does Jim characterize his act at the 
close of this chapter? 

XIV. 

Trace Jim's wanderings until he came upon Silver. What deception was 
Silver practicing upon Tom? Why did the sound of the gun appeal to Tom 
and Silver differently? (113) Why was Jim unwilling to attempt a return to 
the ship? (115) 

XV. 

What circumstances make Jim's situation acutely dramatic at the opening 
of this chapter? What moral may be drawn from Ben Gunn's longing for 
"Christian diet?" Relate, in your own words, the story he told Jim. To what 
did he attribute his misfortune? What prompted Jim to confide in Ben Gunn? 
Explain the meaning of Ben Gunn's insinuations. (122) 

Friday: Treasure Island, Part IV., pages 124-157. 



PART FOUR 

XVI. 

Why does the Doctor begin the narrative here? What was the Lillibullero? 
What was its effect upon the Captain and his followers? Why did the Doctor 
go ashore? Describe the "stockade." (125) Why did the Captain abandon the 
ship? What decided Abraham Gray, in joining the Captain? 

XVII. 

Give two reasons why the fifth trip was the most dangerous of all. (129) 
What precaution had the Captain failed to take? What consequences resulted? 
What is the climax of the incident in this chapter? 

XVIII. 

Describe, as vividly as you can, the race for the "stockade." What made 
the death-scene of Redruth pathetic? Is the Captain a true English seaman? 
(136-7) What circumstances served to put the two factions upon a somewhat 
equal footing? Is this the proper time for Jim to return? What was the 
Captain's first "entry?" 

XIX. 

Why did Gunn believe that it was Jim's friends in the stockade? Why, then, 
did he not enter with Jim? What information did Jim procure before he 
ventured upon the stockade? (141-2) What additional description is given of 
the stockade? (141-2) What tended to relieve the gruesome surroundings? (142) 



26 teachers' manual 

XX. . 

What precautions did the Captain take before receiving Silver? (145) Why 
did Silver's lieutenant announce him as Captain? Was Silver's "trustfulness" 
a matter of policy, or bravery? Why did Silver wish to be invited into the 
cabin? (147) What propositions did Silver make the Captain? How does their 
smoking together serve to emphasize their situation? What counter proposals 
did the Captain make Silver? What was Silver's act of defiance? 

XXI. 

Give the Captain's plan for the defense. (152) Why did the Captain conclude 
that the attack would develop from the North? (153) Describe in detail the 
attack. What is the relative strength of the two parties after the attack? Tell 
the advantages and disadvantages of each side. Summarize the happenings of 
Part IV. 

SIXTH WEEK 

Monday: Treasure Island, Part "V. 



PART FIVE 

XXII. 

Why did the Doctor take the chart with him ? What led Jim to suspect where 
the Doctor was going? (143) What excuse does Jim offer for leaving camp? 
(158-9) Trace Jim's wanderings until he came upon Gunn's boat. Describe this 
boat. (161) What put the notion of setting the Hispaniola adrift into Jim's 
head? (162) 

XXIII. 

What trick of the coracle's made Jim's voyage difficult? What assisted him? 
Why did Jim delay cutting the hawser? What provided an opportunity? In 
what were Hands and his companion engaged? Why is the song at this place 
so effective? Did the buccaneers at the camp-fire see the ship as it passed? 
Account for this. 

XXIV. 

Where was Jim when he awoke? Why did he not land? (Note how each 
chance of escape is met with some difficulty. This is the principle back of 
dramatic interest.) Why did Jim wish to board the ship a second time? (171) 
Describe the chase. What characteristic virtue of Jim's saved him from the sea? 

XXV. 

What gruesome sight on deck did Jim encounter? What thought took away 
his feeling of pity? Describe the "cabin." (175-6) What did Jim say was the 
purpose of his visit? Did he haul down the flag as a matter of patriotism, or 
to deceive the enemy? What did Hands propose to Jim? What was his purpose? 
Did Jim treat Hands kindly as a matter of expediency, as a matter of sympathy, 
or out of a desire for a new adventure? 



teachers' manual 27 

XXVI. 

Account for Hands' philosophy of life. (178-80-82) Was Hands' wish that 
Jim throw O'Brien's body into the sea a ruse? What aroused Jim's suspicions 
when Hands asked for wine? (180) What common interest had Jim and Hands? 
(181) What prompted Jim to give Hands such good advice? (182) How do 
their common interests influence the story? Did Jim prove a match for Hands? 
Upon what virtue did each rely? Give the climax of this incident. Is it more 
effective that an "accident" terminated it? 

XXVII. 

At what point in the Island did the ship land? Trace Jim's wanderings until 
he drew near the stockade. Did he use his accustomed precaution in entering 
it? What announced his arrival? 

Tuesday: Treasure Island, Part VI. 



PART SIX 

XXVIII. 

Once in the hands of his enemies, what was Jim's greatest horror? (193) 
Why was Silver seemingly so friendly ? Do his arguments grow out of his 
character, or out of his circumstances? Relate Silver's story of the "bargain." 
(195) How did Jim's story (196) affect the buccaneers? What was his 
strongest argument? To whom did it appeal with most force? Why did Silver 
champion Jim's cause? Why were the buccaneers dissatisfied? What bargain did 
Silver propose to Jim? What was Silver's greatest fear? What secret did 
Jim learn? (200) 

XXIX. 

Why did Jim not attempt his escape? (201) What did Silver mean by saying 
that he had one more shot? Why did Silver begin his defense by a reference to 
the Bible? Give his second and his third points. How did George meet the 
objections? Outline Silver's arguments. What was his strongest point? Were 
these arguments Silver's own convictions, or were they manufactured for the 
occasion? Give the elements that enter Into Jim's dramatic situation at the 
close of this chapter. 

XXX. 

What were the Doctor's thoughts and feelings when he discovered Jim? 
Account for his kindly treatment of the buccaneers. What opportunity during 
Jim's private conversation with the Doctor put Jim's honor to the test? What 
assurance did the Doctor give Silver? What advice? 

XXXI. 

Characterize the conduct of the buccaneers. (215) What information did 
Silver give out that restored confidence in him? What excuse did he offer for 
wishing to keep Jim close to his side on the treasure hunt? (216) Why had not 
the Doctor told Jim more of past occurrences? What was the effect upon the 
buccaneers of finding the skeleton? To what reflections did this lead? (220-1) 



28 teachers' manual 

XXXII. 

Outline Silver's efforts to carry out the Doctor's instructions. (213) How 
did the song affect the pirates? To what characteristic of ignorant people did it 
appeal? Where is this weakness in their nature first shown? Was the 
circumstance purposeful or accidental there? How did Silver explain away the 
strange occurrences? (223-4-5) 

XXXIII, 

Characterize the feelings aroused in the buccaneers when they discovered that 
the gold was gone. Retell the Doctor's story. (230-1) How do you account for 
the fact that Captain Smollett had provided the pirates with the very means 
that would enable them to prolong the struggle? Describe Gunn's cave. (233) 



XXXIV. 

What became of Silver? Are you satisfied with this? What disposition is 
made of the characters at the close of the story? 

General Que.stions and Suggestions 

What situation was the severest test of Jim's honor? Of his bravery? 
What venture of his turned out most fortunately? Which one seemed most 
foolish in the beginning? In what situation is Jim's wit most in evidence? 
His shrewdness? In what situation is Silver's cunning put to its greatest test? 
What is the climax of this story? What character is the least dependable? The 
most trustworthy? Point out a chapter which is intensely dramatic, but whose 
chief purpose is to reveal character. What are some of the most commonplace 
incidents? What incidents are most dramatic? What makes them dramatic? Do 
you find anything good in the characters of any of the pirates? 

Wednesday: A Dramatization of some part or parts of Treasure Island. 
The teacher should have Simons and Orr's Dramatization, pages 7 to 22, 
First Year, which contains parts of Treasure Island dramatized. 

Thursday: A discussion of the "size and definiteness" (see page 48 of the 
text) of some of the titles to Chapters of Treasure Island; also the character- 
istics of these titles (see pages 49-51 of the text). Review Chapter V. of the 
text, and then apply to parts of Treasure Island the following principles : (a> 
The development of Narrative and Descriptive Subjects, (b) The Beginnings and 
Endings of Narrative and Descriptive Subjects, (c) The Use of Details and 
Dialogue. 

Friday: Have written in class a composition upon some one of the follow- 
ing subjects : The Stockade, The Old Captain, — a True English Seaman, The 
Death-Scene of Redruth, a summary of Part IV., Israel Hands' Philosophy of 
Life, The Severest Test of Jim's Bravery, About half of the recitation should 
be given to writing this composition, the rest to a discussion of a few of the 
compositions. For the following Friday a composition of from 300 to 400 
words is due, based on "Jim as the Type of the Natural Boy," or the teacher 
may allow the student to select his own subject from Treasure Island. This 
same subject might be assigned for an oral discussion. 



teachers' manual 29 

seventh week 

Specific Aim: To emphasize the importance of having a definite daily 
"Lesson Plan." (The teacher should have the "Manual for the Elson Grammar 
School Reader, Book Four," furnished free of charge by Scott, Foresman and 
Company.) 

Monday: "Incident of the French Camp," (37 Elson Reader) "Herv6 Riel," 
(38 Elson Reader) Follow the plans outlined in detail on pages 20-24 of the 
Elson Manual. 

Memory Work: "The Bugle Song." (43 Elson Reader.) 

No practice is more profitable and, in the end, more pleasant than memoriz- 
ing good poetry. "It enlarges and enriches the vocabulary; it cultivates the 
sense of rhythm ; it suplies a storehouse of memories valuable for their beauty, 
their wisdom, and their ethics ; it makes surer the possession of a touchstone by 
which other literatures, and even life, may be judged ; and, finally, much that is 
thus learned in childhood, though only partially appreciated then, takes on new 
meaning and beauty in after life." 

A poem, or parts of a poem, should be memorized almost every day. It is 
better to give short passages every day than to assign much at any one time. 

Tuesday: "Paul Revere's Ride," (15 Elson) "The Charge of the Light 
Brigade," (22 Elson) "To a Waterfowl." (60 Elson) (See the Elson Manual, 
page 27, for "To a Waterfowl." Have students plan recitations upon the other 
two poems.) 

Memory Work: Three stanzas of "Annabel Lee." (57 Elson.) 

Wednesday: Rip Van Winkle. (113 Elson.) This recitation might be given 
to learning a few of the facts of Irving's life, and to the story of "Rip Van 
Winkle." 

Memory Work: Finish "Annabel Lee." 

Thursday: A detailed study of "Rip Van Winkle." 

RIP VAN WINKLE 
Principles op the Short-Story 

1. In his "Philosophy of the Short-story," Mr. Matthews says, in substance, 
that a good short-story must have unity of impression ; that it must show one 
action, in one place, and on one day ; that it must deal with a single character, 
a single event, a single emotion, or a series of emotions called forth by a single 
situation — that it must have totality of effect. It must have compression, 
originality, ingenuity. If a little fantasy is added, all the better. 

Apply these principles to "Rip Van Winkle." In what respects does the 
story meet these requirements? In what respects does it fall short? 

2. The short-story has, near the beginning, what is technically called the 
"inciting, or occasioning, moment." The inciting moment is the germ of the 
story : it determines both the direction and the character of the story. It may 
be a happening, as the meeting of Macbeth with the witches in Act I., Scene 8, 
or the trial of Silas Marner in Chapter I. ; something said, as Cassius pouring 
poison into the ear of Brutus. 

What is the inciting moment in "Rip Van Winkle?" 

3. The first part of a short-story usually deals with "exposition" — a setting 
forth of the background, of the characters and their relations, of the time and 
place elements. 



30 teachers' manual 

How much of "Rip Van Winkle" is concerned with exposition? Where does 
the real story begin? 

4. The "climax" of a short-story is usually near the close. It is that point 
in the story where the dramatic forces are most evenly matched — that point 
where the reader's interest is most intense. 

What is the climax in "Rip Van Winkle?" How near the end of the 
story is it? 

5. "Action, or Plot. The actors in any narrative must pass through a 
series of related events, beginning at some definite point and moving onward, 
in coherent manner, to some definite outcome." 

Give, in order, the events in "Rip Van Winkle." Show how they are related. 

6. A "dramatic situation" is one in which there is a clash of interests. 
What makes Rip's situation dramatic in the early part of the story? (See 

11. 16 and 17, page 116 ; 11. 20 and 21, page 119 ; 1. 20, page 117.) 

Do the two pictures in 11. 30 «f, page 119, and in 1. 8 ff, page 120, intensify 

Rip's dramatic situation, or are they mere pictures? 

Give other instances in the story where Rip's situation is dramatic, and 

tell what makes it so. 

Theme Scbjects 

The Most Pathetic Scene in "Rip Van Winkle." 

The Dramatic Elements in "Rip Van Winkle." (Consider his feelings at 
different points, and what occasioned them.) 
A Defense of Rip's Wife. 
A Character Sketch of Rip Van Winkle. 

A Lesson in Word-study 

Make a list of all words not in your speaking vocabulary. Use your own 
Notebook for this purpose. 

Title 



Word Page 



Try to arrive at the meaning of the word from the context. Use the dic- 
tionary to verify and correct your conclusions. 

After several classics have been read, compare your word-lists. What words 
occur most often? In how many different "situations" have these words been 
doing service? Account for the different shades of meaning given to the word 
because of this. 

Words that occur most often are called "current words," and they occur most 
often because they represent thoughts and feelings in common with most people. 
Special emphasis should be placed upon these current words : they should be 
used in daily conversation, and in composition work. 

Friday: A class discussion of the composition assigned on Friday of the 
sixth week. 



teachers' manual 31 

One recitation almost every week should be given to the reading of student 
compositions, either by the teacher or by different members of the class. The 
difference in viewpoint taken by different members of the class will often prove 
a source of interest. For this reason, it is often well to have all members of 
the class write upon the same subject. Get before the class the main point in 
every composition, insist that every member of the class hold to this point, and 
then test every sub-point in the light of this main point. Most of the time 
should be given to the appropriateness of the subject matter, to its organiza- 
tion and development. Occasionally have students make, from memory, an out- 
line of the composition to which they have just listened. 

The memory work should be reviewed by having pupils answer roll call with 
a short quotation. 

EIGHTH WEEK 

Specific Aim: A review of the following points: (a) The use of dialogue; 
(b) The order and character of details in effective descriptions; (c) The 
importance of neatness in the use of theme paper and ink, and of legible pen- 
manship and correct folding and endorsing. 

Monday: Oral discussions of some interesting experiences, either in the life 
of the students or in the books they have been reading. Have the students, for 
the I'emaiuder of the recitation, write up in dialogue form some of these 
experiences. 

Tuesday: Find in Treasure Island, or in some of the books that are being 
read at home, good descriptions of: (a) a building, (b) a person, (c) a place, (d) 
a thing. Make a list of the details used in these descriptions. Note the order 
of these details. Do you observe any principle back of the order and the 
nature of the details used? The teacher should read to the class a few good 
descriptions, ask for comment upon them from the class, and point out the 
principles of effectiveness in the different descriptions. He may ask students to 
write from memory some one of these descriptions. Students should be assisted 
in vizualizing, in objectifying all descriptions — they must learn to see things 
with their own eyes. Explain "c" under "specific aims," and ask for a composi- 
tion based upon a descriptive subject, due Wednesday. 

Wednesday: A class discussion of the compositions assigned on Tuesday. 
The aim of this recitation is to test how well students have learned and lived 
up to the principles discussed on Tuesday. 

Suggestions 

Encourage students to read aloud to themselves their own compositions, and 
then to ask themselves this question : "Will the English of this composition 
mean the same thing to my teacher or to my classmates that it means to meV" 

When carelessness, or lack of faithful effort is evident, it is often well to 
have students re-write their compositions. Suggestions (and not "corrections") 
should be entered upon these compositions. The original composition and the 
<!omposition which has been re-written under the direction of the teacher's 
suggestions should both be returned to the teacher. A vital point in all good 
composition work is, that every student improve upon his own faults. 

Thursday: "The Leap of Roushan Beg," (19 Elson) "The Diverting History 
of John Gilpin," (2.5 Elson) "The Brook," (44 Elson). The first two poems may 
be discussed as examples of good narratives, the third as a descriptive poem. 



32 teachers' manual 

Practice of students in reading aloud. Questions that will test their ability to get 
hold of the thought of the poems. Call for passages that appeal to the 
students, and then ask for an explanation of the nature of this appeal. 

Friday: A book report upon the outside readings, or the teacher may give 
a written test upon the text. 

The teacher should have the Marsh Manual, furnished free of charge by 
Scott, Foresmau and Company. 



(THIRD MONTH) 
NINTH WEEK 

Specific Aim: Drill in planning, and practice in writing expository themes to 
develop orderly thinking. 

The Text, Chapter VI. 

Plan : (a) Have students outline and learn the main points of Chapter VI.; 
apply these principles to subjects for composition, based upon topics of local or 
general interest, to a few of the exercises of the text. (II., 1 and 2, page 98; 
III., IV., and v., page 99; VI., and VII., page 104; VIII., and IX., page 105) 
also to subjects found in the home readings. 

Suggestions 

At least two compositions a week — one oral and one written — should be 
required throughout this month. Encourage students to look for expository 
subjects in the life about them. Have a class discussion of the merits and 
possibilities of the subjects suggested, and then let each pupil write about that 
subject in which he is interested most. Use a diagram to explain some school 
activity ; example, the diagram of a tennis court to explain the game of tennis. 
Explain: (a) Why your class spirit is good; (b) Why your athletic spirit is 
poor; (c) How the student honor system would work in your school. Make an 
outline which indicates the plan of one of the expository essays in the Sketch 
Book; Example, "Rural Life in England" (107 ff. ) Point out the good quali- 
ties of Irviug's "beginnings" and "endings" in the essays (as distinguished 
from the stories) of the Sketch Book (96, 107, 2.36, etc.) 

Read to the class a few good student compositions on exposition, and let 
the class outline the main points as you read. 

Have a class discussion of these outlines. Read a few good models of 
exposition from literature. (See "The Voyage," Elson Reader, 1-32 fif.) Comment 
upon the "beginnings" and "endings," also the main body of the exposition. 
Ask for good illustration of exposition from the home readings. 

All compositions for this month should be expository, and all subjects for 
composition should be kept within the range of experience and power of 
comprehension of the students. Clearness is the most essential characteristic 
of all good expositions. For this reason it is absolutely necessary that 
students have definite information on the subjects they attempt to treat, that 
they organize their knowledge well, and, finally, that they express themselves 
in simple, straightforward English. 



teachers' manual 33 

TENTH AND ELEVENTH WEEKS 

Specific Aim: (a) To cultivate a taste for good literature; (b) to create 
and develop the power of close observation and careful study of important words 
and phrases; (c) To give practice in making and carrj'ing out of definite plans 
for the daily recitation. 

("a") Poems, or parts of poems, to be memorized: "Song of the Chattahoo- 
chee," (11. 41-50) "To a Waterfowl," (last stanza) "To a Skylark," (all of it) 
"The Cloud," (stanzas I., H., and IV.) "Apostrophe to the Ocean," (stanzas I. 
and II.) "Mercy," (page 98) "Polonius' Advice." (101, all of it.) 

Note : From 5 to 10 lines a day during the first two weeks should be 
memorized, and the passages memorized should be drawn upon frequently as 
illustrations of the happy use of words and phrases, also for the thoughts 
expressed. 

("b and c") Readings: (1) "Apostrophe to the Ocean," (71) "The Eve 
Before Waterloo," (76) "Song of the Greek Bard," (79) "Absalom," (87) 
"Lochinvar," (91) "The Parting of Marmion and Douglas," (93) ; (2) "Regulus 
Before the Roman Senate," (32.">) "Spartacus to the Gladiators," (3.30) "Rienzi's 
Address to the Romans," (334) "England and Her Colonies," (344) ; (3) 
"Snow-Bound," (265) "The Great Stone Face." (141) 

"Great Stone Face." (See Elson Reader, page 141.) 

Discuss the story. How many incidents has it? How does each incident 
begin and end? Are there any transitional paragraphs between the incidents? 

Theme Subjects : A Man's Life Determines His Character. Ernest's Child- 
hood. Tell in the first person the story Ernest's mother told him. (Make 
your story simple enough for a child to understand; amplify the original story.) 

Note: (1) A close study of "Helps to Study," also "W^ords and Phrases for 
Discussion," should be made. (See suggestions found at the end of the dif- 
ferent selections in the Elson Renders. (2) Follow the plans, outlined in tlie 
"Elson Manual," for the treatment of most of t! e selections to be read during 
this mouth. Have students outline plaLs for a few of the other selections. 

TWELFTH WEEK 
REVIEW 

Specific Aim: (a) To impress and fix the fundamental principles of the text; 
(b) to clarify hazy notions and correct erroneous ideas; ,(c) to discuss and make 
comparisons of the most interesting "incidents." "descriptions," etc., found in 
the home readings. 

Mondap, Tuesdai/, and Wednesday: Review. In addition to the general 
review, the teacher should make a notation in writing of the particular points 
in which different members of the class, also the class as a whole, are deficient. 

Thursday: Monthly book-report upon the home readings. 

Friday: "An Hour With the Authors Studied." 

SuGGE.STiVE Program 

Reading (by pupils). (Some poem or short prose selection.) 
Quotations. (Allow students to quote the poems they like best.) 
Biography. (Short papers on the authors studied.) 
Oral Report (Some interesting incident). 



34 teachers' manual 

Recitations. (Some good short poems.) 

Declamations. (Some of the Famous Speeches at the end of the Elaon 
Reader.) 

Dramatization. (Some incident in the readings for the month.) 
(Consult Simons and Orr ; Dramatization.) 



SECOND THREE MONTHS 
(FOURTH MONTH) 
THIRTEENTH WEEK 

Specific Aim: Practice in composition writings — to strengthen weaknesses 
discovered by the teacher during the review at the close of the "First 
Three Months." 

Suggestions 

It may be that the class shows a weakness in some of the following points : 
(a) Ability to find appropriate subjects for themes (34-37) ; (b) interest in the 
subjects treated (40) ; (c) ability to properly narrow a subject for high school 
composition purposes (48), or to phrase good titles for the subject selected 
(49-50) ; (d) in a knowledge of the importance of having in mind a "definite 
plan" before hcginning to write (50) ; skill in developing narrative subjects 
(60), descriptive subjects (63), in writing appropriate beginnings and endings 
(67), for narrative and descriptive subjects, in the effective use of details (70), 
and forceful dialogue (71). 

The teacher should make use of the notations made during the review at 
the end of the third month, and set about systematically, (a) to clear up mis- 
understandings of the principles of the text, (b) to fix in the minds of the pupils 
these principles in corrected form. 

Note : The work for this week should be daily one-page compositions — oral 
and written — class discussions, etc. 

It is often well for the teacher to wi'ite upon the same subject which he 
assigns his class. This exercise will keep him in good practice, will bring home 
to him all actual difliculties encountered by his pupils — will make him think 
out a composition subject before assigning it to his class. 

FOURTEENTH WEEK 

Specific Aim: To develop the paragraph idea. 
The text— Chapter VII. 

Suggestions 

(1) Have students outline and learn the fundamental principles of Chapter 
VII. (28, 29, 30, 31). 

(2) Apply these principles, through a class discussion, to a few of the oral 
exercises suggested in the text. 

(3) Have several short paragraphs written, both in class and out of class, 
based upon topics of local interest, upon exercises of the text, and upon com- 
position subjects found in Treasure Island. 



teachers' manual 35 

Narrative Subjects 

(1) Give from memory: An Account of the Apple-barrel Incident. (2) 
My Most Exciting Experience (told by Silver several years after his escape from 
the Hispaniola). (3) How Near I Came to Losing My Life (a conversation 
between Jim and his mother, his mother occasionally asking questions, indicat- 
ing her anxiety). (4) An Imaginary Dialogue Between Gunn and Silver (238). 
(5) Manufacture three or four related incidents touching upon Gunn's lonely 
life upon the Island, and then develop these incidents into a story whose climax 
is Gunn's surprise at coming upon Jim. (6) A Story Suggested by Billy 
Bones. (7) An Original Search for Buried Treasure. 

Descriptive Subjects 

(1) The Old Sea Dog. (2) A January Morning. (3) The Spy Glass. (4) 
The Stockade. (5) Treasure Island. (6) The Contents of Some Old Box or 
Chest (e. g., a chest the student finds in his grandfather's garret). 

Expository Subjects 

(1) An Outline of the Things in Treasure Island That Interested Me Most 
and the Nature of This Interest. (2) Why the Apple-barrel Incident is a "Plot- 
incident." (3) How Silver Kept down the Mutiny. 

Note : Allow students to select composition subjects from the above lists. 
All compositions for this month should lay emphasis upon the principles of the 
paragraph as set forth in Chapter VII. 

A Lesson in Paragraph-Study 

Pick out the topic sentence in the following paragraphs (Elson Reader) : 
line 1, page 114 ; line 6, page 115 ; line 17, page 115 ; line 16, page 116 ; line 
34, page 117; line 33, page 120; line 26, page 121; line 17, page 124; line 22, 
page 125; line 17, page 126. 

What word (or words) in each paragraph gives the keynote to what is 
treated in the paragraph? Make a list of the details that develop the topic- 
idea. Indicate the topic sentences whose core-idea is concrete ; the topic sen- 
tences whose core-idea is a general statement. What part of the topic seutence 
is transitional? In what paragraphs does the topic sentence occur at, or near, 
the beginning of the paragraph? Make, in order, a list of the topic sentences that 
carry forward the story ; of those that deal with description, 

FIFTEENTH WEEK 

Specific Aim: (a) To give students practice in reading aloud before the 
class ; (b) to assist them in grasping the unity of larger wholes in literature. 

(1) Readings: 

"Evangeline" (consult Elson Manual, 47). 
"Song of the Chattahoochee" (Elson Manual, 25). 
"The Destruction of Sennacherib" (Elson Manual, 29)-. 
"How they Brought the Good News from Ghent to Aix.' 
(Have students plan a lesson for this poem.) 



36 teachers' manual 

(2) Memory Work: 

"Hamlet" (102 Elson). 

Hamlet's "Soliloquy" (103 Elson). 

Sdggestions 

(a) Have students select passages which interested them most, ask them to 
practice reading them out of class, and sometime during the week call upon 
them to read a passage to the class. 

(b) Have students discuss and explain the divisions of "Evangeline." 
Note : Most of the compositions for this week should be in the form of 

oral reports upon the interesting incidents and descriptions found in the read- 
ings for the week. 

SIXTEENTH WEEK 

Monday: Review of the text — Chapters VI. and VII. 

Tuesday: A summary of the main incidents and a comment upon the most 
beautiful descriptions in "Evangeline." 

Wednesday: A one-page paragraph upon some incident or description in 
"Evangeline." 

Note : Students may be allowed to select their own subject for a composition, 
or the teacher may suggest such topics as, An Imaginary Conversation between 
Gabriel and Evageline (210, lines 4 and 5). 

All class discussions and all comment from the teacher upon compositions 
written during this week should lay emphasis upon the mechanical requirements 
of a paragraph, also upon the unity, emphasis, and coherence of the paragraph 
written. 

Thursday: Monthly book-report. 

Note : Ask students to find in the books for home readings illustrations of 
good paragraphs and then to explain in what particulars they are good. 

Friday: Have students plan and carry out a program similar to that sug- 
gested at the close of the twelfth week. 

Note : Suggest the use of the following "famous speeches" found in the 
Elson Reader: "Napoleon Bonaparte" (356), "The True Grandeur of Nations" 
(358), "Patrick Henry's Speech" (350). 

(FIFTH MONTH) 
SEVENTEENTH WEEK 

Specific Aim: To emphasize the "Sentence" as the unit of expressing our 
thoughts. 

The text, Chapter VIII. 

Have students outline the main points in Chapter VIII. Apply these prin- 
ciples to the exercises suggested in the text. 

Most students are weak in their knowledge of clauses. For this reason, also 
because the subject is very important, this chapter in the text should be gone 
over carefully. Emphasis should be placed upon the thought-relations between 
the different members of compound and complex sentences. Model sentences 
whose conjunctions indicate these relations should be studied. A list of the 



teachers' manual 37 

subordinate and the co-ordinate conjunctions on pages 132-3 should be made by 
each student, and then memorized, by frequently using them in sentences. 

Find the '"paragraph topic" of a few paragraphs in "The Voyage" (132 
Elson), also in "My Visit to Niagara" (163 Elson). Make a list of the sub- 
thoughts which develop the topic sentence, and in each case indicate the value 
of the sub-thought in developing the topic sentence. 

Find examples of simple, complex, and compound sentences in "A Descent 
into the Maelstrom" (172 Elson). Explain the thought-relations suggested by 
the use of the different conjunctions. 

One recitation each week should be devoted to a class discussion of student 
themes. 

EIGHTEENTH WEEK 

Specific Aim: (a) To give additional practice in reading aloud (by the 
students) to the class, (b) to test the thought-getting power of the students. 

Readings: "Marco Bozzaris" (82 Elson), "The Burial of Sir John Moore" 
(85 Elson), "A Descent into the Maelstrom" (172 Elson). 

Memory Work: "Reputation" (104), "Wolsey and Cromwell" (104-105). 

Note : Ask questions on these passages, to ascertain how well the students 
are getting into the thought of the passages. Test their ability to read effec- 
tively. The teacher should often read interesting selections to the class, and 
should comment upon them. 

Written Work 

(1) Daily practice in the use of co-ordinate and subordinate conjunctions 
in original sentences. Every sentence should serve two purposes: (a) It should 
illustrate the rhetorical principle ; (b) it should represent the best thinking of 
which the student is capable. 

(2) One theme, 150 to 200 words, upon subjects from the following list : 

(a) The composition subjects based upon "Rip Van Winkle" (page 30 of 
this manual). 

(b) The composition sulijects based upon "The Great Stone Face," page 33 
of this manual). 

(c) The composition subjects based upon "Christmas Carol" (see "Christ- 
mas Carol," Lake English Classics, page 25). 

NINETEENTH WEEK 

Specific Aim: To arouse interest in Scott as a forceful and pleasing writer 
of narrative poetry. 

Scott's Lady of the Lake. 

Suggestions 

Ask students to point out beautiful descriptive passages, to summarize the 
incidents of some of the most interesting Cantos. Give attention to character 
delineation of the leading characters. The teacher should read a good deal of 
the poem to the class, and should frequently have students read to the class pas- 
sages which appealed to them. 



38 teachers' manual 

Have students read, out of class : 

(a) Life of Scott (9-3S). 

(b) Scott's Place in the Itomantic Movement (39-43). 

(c) The Lady of the Lal^e (46-58). 

Make comparisons of "Evangeline" and "The Lady of the Lake." Example, 
Evangeline and her Home (11. 16-24, pages 113-116). Ellen and her Home 
(71-87). 

TWENTIETH WEEK 

Monday: An examination based upon the text, or a review of the text. 
Tuesday: Composition. 

(a) A Short Biographical Sketch of Scott. (Have students submit an 
outline with their compositions.) 

(b) Dramatization of some part of "The Lady of the Lake" (The Combat, 
Canto Five), or of "Evangeline." 

Wednesdary: A class discussion of the compositions for Tuesday. 
Thursday: Monthly book-report. 

(a) A comparison of things found in the books for home readings with 
things found in the books for regular class work. 

(b) Oral practice in telling the stories. Have students who have not read 
the books imagine the conclusion. 

(c) Call for a written list of a few of the most important truths the 
student found in the book he is reading. 

Suggested Program 
Friday: 

(1) Quotations. (Have students answer with their favorite quotation.) 

(2) Oral discussion (3 min.). 

(My Favorite Author — by three or more girls.) 

(3) Declamation — Lincoln: Gettysburg Speech. (Have three or more boys 
memorize this speech and contest for honors.) 

(4) Compositions read. (A few of the best compositions written during 
the month should be read by the authors.) 

Note : (a) Appoint a few members of the class to act as critics of the 
occasion. 

(b) Ask two or more students to write up an account of the program, 

during the recitation. 

(c) Have students invite their parents to the exercises for Friday. 

(SIXTH MONTH) 
TWENTY-FIRST WEEK 

Specific Aim: Study of grammatical errors subordinated to the development 
of thought-power. 

The text. Chapter IX. 

Study the rules, or principles, of this chapter, and then apply them to the 
Exercises of this chapter. Students should be constantly on the watch, in their 
outside readings, for expressions that are peculiarly appropriate, also lor any 
violations of the fundamental rhetorical principles. 



teachers' manual 39 

TWENTY- SECOND WEEK 

Specific Aim: To emphasize the unity and logical development of poems. 
Readings (pages refer to Elson Reader) : 

(a) "The Chambered Nautilus" (291). 
"Old Ironsides" (297). 
"The Last Leaf" (300). 
"The Raven" (190). 

Suggestions 

Most poems have a symbol (or concrete background) in the first part of the 
poem, and from this point the author leads the reader (by a series of steps or 
incidents) up to the central truth of the poem. 

(1) What is the concrete background for each of the above poems? 

(2) roint out the successive steps in each poem by which the author leads 
up to the central truth. 

(3) Write, in one sentence, what you regard as the central truth of 
each poem. 

(b) "A Descent into the Maelstrom." (See Elson Manual, page 42.) 

TWENTY-THIRD WEEK 

Specific Aim: To awaken an interest in Dickens and his works. 
Christmas Carol. 
Outline of work for the week. 
Monday: (a) The Life of Dickens, pages 1-18. 
(b) Christmas Carol, Stave One. 

Note: (1) Dickens's humor (31, 34, etc.). 

(2) Scrooge's Characteristics (32). 

(3) Scrooge's relation to the life about him (33). 

(4) The use of quotation marks (34-38; 45-50). 

(5) Symbolism of descriptions (38, etc.). 

(6) Use of details (42, 11. 26 S). 

Suggestions 

Have students practice telling the story beginning on page 33. Give atten- 
tion to the contrast in the characters, Scrooge and his nephew. 

Have students express in their own words some of the truths on page 47 ff. 

The teacher might suggest books of Dickens he has read, and indicate some 
of the interesting passages found in them, or he may ask students to point out 
and discuss interesting things they found in some book of Dickens. 

Tuesdai/: (a) The meaning and purpose of "A Christmas Carol" (19-22). 
(b) Stave Two (52-71). 

Note : Give attention to sentence structure, to the use of the comma, to the 
use of long sentences and short sentences. 

Wednesday : Stave Three. 

(a) Point out some vivid descriptions. 

(b) Note the development of well organized paragraphs (72 
to 78). 



40 TEACHERS ' MANUAL 

Thursday: Stave Four • 

Discuss answers to the qnestiocs on page 25. 
Assign for Friday some of the composition subjects on page 25. 

Friday: Stave Five. 

(a) Oral practice in telling the story. 

(b) Discuss Scrooge's reformation. 

(c) Discuss the purpose of the story. 

(d) Have some of the compositions read in class. 

Take up the remaining compositions at the close of the recitation. The 
"suggestions" entered on these compositions should lay emphasis on the develop- 
ment of the paragraph idea. 

TWENTY-FOURTH WEEK 
REVIEW 

Monday: A review of the poems memorized during the year. Have students 
comment upon the beauty of their favorite passages, upon the value of the 
thoughts expressed. Apply them to life. Indicate the theme in the different 
poems. What is the author's viewpoint of his theme? What poems deal with 
themes that are similar in their nature? 

Tuesday: Review the principles of the paragraph. (Chapter VII. of the 
text.) Apply these principles to paragraphs in Christmas Carol, which the 
class has not previously studied for this purpose. Sight reading and thought 
interpretation of one or two poems which the class has not studied. Opportunity 
(59), "The Ship-Builders" (286). 

Wednesday: Review of The Lady of the Lake. (Work out some of the 
suggestions in the Marsh Manual, page 61 ff.) Ask students to suggest from 
this appropriate subject for composition. Have each student select one of 
these subjects for a composition for Thursday. 

Thursday: \ class discussion of the compositions assigned at Wednesday's 
recitation. 

Friday: Moiitlily book-report. Topic, .\ Defense of my Favorite .\uthor. 

THIRD THREE MONTHS 

(SEVENTH MONTH) 
TWENTY-FIFTH WEEK 

Specific Aim: To develop the idea that marks of punctuation are not mere 
mechanical devices, but aids in the clear and accurate expression of thoughts. 
Test, Chapter X. 

SrOGESTIONS 

(1) Assign only a few rules for each day. Use the remainder of the reci- 
tation for the application of these rules ; to the Exercises of the text, also to 
passages in "The Great Stone Face," etc. 

(2) The teacher may dictate a few exercises to the class, giving the proper 
pause to the different marks of punctuation, and then have students suggest in 
each case the proper mark of punctuation to be used. Encourage students to 



teachers' manual 41 

read closely their own compositions, in an effort to determine the differences 
in meaning due to the omission, proper use, or misuse of different marks of 
punctuation. 

TWENTY-SIXTH WEEK 

Specific Aim: To awaken an interest in Lowell and Sidney Lanier. 

(a) "The Vision of Sir Launfal." (Consult the Elson Manual [07 ff], also 
the Marsh Manual [IS ff].) 

(b) "The Marshes of Glynn." See FAson Manual (75). 

Friday: A composition, three or more pages. (See theme subjects, pages 
16, 17 of this manual.) 

TWENTY-SEVENTH WEEK 

Specific Aim: To awaken an interest iu Coleridge and his work. 

(a) The Ancient Mariner. 

Monday and Tuesday: The teacher should read the poem to the class. Have 
students read certain passages. 

Wednesday: Oral practice in telling the story. Comments upon the mean- 
ing of the poem. 

Thursday: A composition written in class. 

Note : Give half of the recitation to writing the composition, and the rest 
of it to a class discussion of the compositions. (Consult the Marsh Manual 
(16 ff) 

Friday: A review and a comparison of the Vision of Sir Launfal and the 
Ancient Mariner. 

TWENTY-EIGHTH WEEK 

Specific Aim: To awaken interest in the importance of letter-writing. 

The text. Chapter XI. 

Apply the principles of Chapter XI. to the following exercises of the text : 
II., page 212 ; III., page 214 ; VI., page 216 ; X., page 217 ; XL, page 217 ; XII., 
page 218 ; XIII., page 219. 

Additional exercises : 

(1) Order from Messrs. Scott, Foresman and Company, of Chicago, fifty 
copies of Treasure Island, sixty copies of The Oreyon Trail, thirty copies of The 
Lady of the Lal:e. 

(2) Write to a former classmate in an effort to interest him iu Treasure 
Island to the extent that he may read it. 

(3) Write a telegram of ten words (a) applying for a position, (b) in 
answer to a letter offering you a position. 

(4) Write a letter to a friend, describing some trip which you have recently 
taken. 

(5) Narrate the most interesting experience of your school life. 

(6) Explain the values to be derived from a study of English. 

(7) Write the "heading" for a subscription list to raise funds for your 
school library. 

(8) Invite some friend to a Thanksgiving dinner. 

(9) Apply for a position as teacher in the grades of a public school. 



42 teachers' manual 

Subjects 

(10) Dame Van Winkle Advertises for her Husband. 

(11) Long John Silver Pleads his Own Case Before a Judge. 

(12) A Letter from Jim Hawliins to liis Mother. 

(13) Why I Lilse (or dislil^e) English. 

(14) The Fundamental Principles of the Paragraph. 

(EIGHTH MONTH) 

TWENTY-NINTH WEEK 

THE OREGON TRAIL 

Monday: (1-44) ; Tuesday: (44-73) ; Wednesday: (73-104) ; Thursday: 
(104-137) ; Friday: (137-160). One composition — oral or written. 

THIRTIETH WEEK 

Monday: (160-189) ; Tuesday: (189-214) ; Wednesday: (214-235) ; (a composi- 
tion) ; Thursday: (235-259); Friday: (259-286). 

THIRTY-FIRST WEEK 

Monday: (286-304) ; Tuesday: (304-326) ; Wednesday: (326-351) ; Thursday: 
(351-377) ; Friday: (377-406.) 

THIRTY-SECOND WEEK 

Specific Aim: A review, through daily one-page compositions based upon some 
of the following subjects : 

(1) An oral discussion in class of some of the following subjects: (a) 
Pontiac"s escape (18). (b) The story of the caslcets (24). 

(2) A composition of 300 words or an oral discussion upon one of the fol- 
lowing subjects: (a) The combat between Roderick and Fitz-James (198-200). 
(b) The story of Tete Rouge (336 ff). (c) Robinson Crusoe rescues Friday, 
(d) An Original Ghost Story, suggested by Christmas Carol, (e) An account 
of a real or imaginary meeting of a student with an odd character (hermit, 
etc.) in a forest or some out-of-the-way place. 

Descriptive Subjects 

(a) Character Sketch of the Ancient Mariner, (b) Nature Pictures in the 
"Ancient Mariner," (c) A Character Sketch of Roderick, (d) A Prairie Dog Vil- 
lage, (e) An Indian Village (134 ff). (f) A Country Church in America, (g) A 
Country Hotel Kitchen (313 fif). 

Expository Subjects 

(a) The Moral of the Story (Christmas Carol), 

(b) The Use of the Minstrel in The Lady of the Lake. 

(c) The Plot of Some Book Read. 



TEACHERS MANUAL 
Dialogues 



43 



(a) Evangeline and the P.lark Robe Chief, (b) Scrooge and Bob Cratchit on 
the Morning after Scrooge's Reformation, (c) A Soliloquy by Robinson Crusoe. 



(NINTH MONTH) 
THIRTY-THIRD WEEK 



The Merchant of Venice. 



a — b Exposition. 

X Inciting moment. 

c Climax. 

c — z Denouement. 



A Lesson in Plot Study 

What keynote is sounded in the opening lines? What is its tone? (1. 1, page 
45.) To what characters are we introduced in the exposition? What do we 
learn about them? What is their situation in life? How are they related to 
each other? (Read pages 50' to 52, also Scene III., pages 58 to 65, and then 
decide.) 

What is the inciting moment? Who is responsible for it? 

From b — c the "complicating forces" are at work. What character is the chief 
complicating force? (Read Scene III., page 58.) How many and what things 
furnish the "obstacle?" In how many and in what incidents or events do these 
opposing forces clash before the climax? Point out two possible places for a 
climax in this play. In which one do you believe? (Read Scene II., page 101. 
also 11. 170 flf, pages 1.30 to end of scene.) In what incident is a deliverer made 
possible? In what incident does this deliverer do active service? 

From c — z the "resolving forces" are at work. What character is the chief 
resolving force? (Read pages 1.30 to 139.) In how many and in what incidents 
or events does this character play a leading role? Give the different points at 
which relief is brought to the characters, and state the nature of this relief. 
What point is the climax of this relief? What is the dominant tone here? 

What characters play a leading role in the sub-plot? In how many points 
does the sub-plot touch the main plot? What is the effect in each case? 



44 teachers' manual 

Subjects for Composition 

A Story of Friendship. 
Shylock as a Father. 
Shylock and his Money. 
A Romance at the Back Gate. 

The Justice of the Judgels Decision. {A debate.) 
A letter from Jessica to Lorenzo, planning her escape. 

A business letter from Bassanio to Antonio, reminding him that the bond 
will soon be due, and that he can not meet the obligation. 

A love-letter from Bassanio to Portia, written while the trial is in progress. 

Sdggestions 

Assign one act for each day throughout this week. Have students tell 
the story. 

THIRTY-FOURTH AND THIRTY-FIFTH WEEKS 

Work out and apply to the Merchant cf Venice the problems suggested on 
page 43 of this Manual. 

One composition, either written or oral, for each week. 
Passages for Memory Work: 

Lines 12-19, page 53. 

Lines 94-99, page 62. 

Shylock's speech, pages 62-63. 

Lines 65-77, page 88. 

Lines 0.3-79, page 94. 

"Song," page 104. 

Lines 131-148, pages 106-7. 

Review "Mercy," page 131. 

Lines 48-05, pages 146-7. 

Have students suggest and memorize other passages. 

THIRTY-SIXTH WEEK 
REVIEW 

Monday: A review and a summary of the most important principles of 
the text. 

Tuesday: Poems memorized during the year, (a) Have one student quote 
a passage, and then call upon another student to give the author, the poem, 
also the circumstances under which used, (b) Call for a quotation. Ask students 
to quote other passages similar in meaning. (c)An oral defense of my favorite 
poem (by the students). 

Wednesday: Delate: (1) The Merits of Evangeline and the Vision of Sir 
Launjal; (a) Beauty of descriptions; (b) Truths brought out, etc. (2) Haw- 
thorne and Irving as writers of short stories; (a) Style; (b) subjects treated, etc. 

Thursday: Monthly book-report. 

Friday: Program, 



INTEODUCTION TO THE SECOND YEAE'S WOEK 

Specific Aim 

(a) In Oral and Written Composition: Fluency and a reasonable cor- 
rectness, with special reference to the choice of words, and the structural 
elements of the sentence, paragraph, and the whole composition. 

(b) In Beading: An interest in and an appreciation of good litera- 
ture, an increased vocabulary, a knowledge of each writer's style, and an 
increased moral development through a thoughtful consideration of the 
characters and lessons taught. 

GENEEAL STATEMENT 

The aim of the second year High School English, as of each of the other 
years also, should be, primarily, to teach the students to express themselves 
more fluently and correctly in their spoken and written speech. And only 
less important technically, the English course should create an interest in 
good books, and increase the moral stamina of the students by bringing 
them face to face, through their reading of the classics, with the noble 
thoughts of the noble men and women of the world, as exemplified in the 
characters and lessons therein found. 

The means to be used in reaching these two great aims will, of course, 
vary somewhat with the individuality of the teacher. And yet there are 
certain general principles which every teacher will use, and it may be well 
to enumerate them here, 

1. Encourage fluency of expression, oral and written, first, and later 
correct the errors, gradually and not too violently. Many a patient has 
died under the knife from the shock of an otherwise minor operation, his 
life-blood congealing. And likewise, the fluent and original expression of 
ideas in the students of many a class has been deadened by some over- 
zealous teacher, who, anxious to make of them Stevensons or Macaulays, 
has chilled them so thoroughly that they have become afraid either to 
speak or to write freely. Above all encourage the pupils to talk and 
write freely, and eliminate the mistakes gradually. Else, as Mr. Herrick 
has said, in pulling up the weeds of mistakes you will also pull up the 
flowers of fluency and originality. 

2. It should be remembered, in the course of instructing the students, 

45 



46 teachers' manual 

that if they have reached a reasonable standard of efficiency by the time 
they have graduated from the High School the teacher has done wonders 
with them. Therefore, only glaring errors should be strenuously attacked 
in the first two years of the High School Course, special stress being laid 
on spelling, bad grammar, and hanging constructions. Tlie finer points 
should be carefully approached, and taken up gradually. 

3. Eemember that the theory of English, as found in Herrick and Damon, 
is chiefly helpful as an aid to correct practice. Do not try to teach the 
students to write by the book only. Use the book as a guide, and then 
make them write frequently. Besides themes written at home, have them 
often write ten-minute themes in class, some of them at the board, and 
have these latter corrected in the presence of the students; Have pupils 
also talk freely in class on various subjects, especially in discussing the 
reading of the classics. 

4. Let the students do as much of the correcting of each other's mis- 
takes as possible, especially in blackboard and oral work. This doctrine of 
self-activity is essential, and the mistakes so corrected are wonderfully 
helpful to the class as a whole. For the pupils to do their own correcting 
holds their attention as nothing else can. 

5. Do as much reading of the classics, both inside the classroom, and 
outside, as supplemental reading, as possible; remembering that it must be 
carefully done, and that too hurried reading is oftentimes worse than time 
wasted, developing in the students careless, slipshod habits. On the other 
hand, if the work is too intensive, if you try to analyze the rhetorical and 
grammatical structure of each sentence and paragraph, you will soon lose 
sight of the interest in the story and the beauty of the lines, and the stu- 
dents will heartily despise the selection, whatever it may be. The interest 
in the story and the beauty of the lines should come above all things, and, 
as far as possible, in addition, the following tilings should also be con- 
sidered, the most important being placed last. 

(a) Vocabulary — Increase the students' vocabulary by seeing that they 
are able to use the new words in their own composition work and daily 
speech. 

(b) Style of writer — The students should be made to see how the differ- 
ent authors write, but this instruction must not be too technical. 

(c) Moral element — Without being didactic, impress on the students 
the value of character as exemplified in the persons found in the books they 
read. In every case, bring the characters as near home as possible, by 
asking the students to talk about t'^em and dis-^uss them freely. 

One particularly helpful way to increase the students' interest in the 
classics and to impress great masterpiecee on their memories, is for the 



teachers' manual 47 

teacher to arrange dramatizations of various scenes studied. This will 
delight the class, intensify the interest, both for the actors and the auditors, 
and give everybody concerned an insight into the meaning of the lines that 
nothing else will. In this connection, DramatizaUon, by Sarah E. Simons 
and Clem I. Orr, Scott, Foresman & Co., cannot be too highly recommended 
for its many practical suggestions. This book is also especially rich in 
dramatized scenes from the second year readings, which are as follows: 
The Last of the Mohicans, A Tale of Two Cities, David Swan, The Vicar 
of Wakefield. 

In addition to these general suggestions, a detailed plan for the year's 
work will now be given. Deviation and changes to suit particular conditions 
may be found desirable in the progress of the year's work, but it will not 
be necessary to get any great distance away. The work is divided into a 
period of 36 weeks, but time has been allowed the class for reviewing and 
examinations. 

In the study of the rhetoric, have the students do as much original work 
as possible, by bringing fresh examples, from the newspapers or other 
sources, of various topics studied. In reading the classics as class exercises, 
assign definite lessons, and take them up in class with reference to the 
beauty and meaning of the lines and the lessons embodied. For the supple- 
mental work, also, the assignments should be definite, each book taking 
probably a month, and a lesson a week given, if possible, to a discussion 
of this reading. And during the month, or at its close, at least one theme 
should be written on the story, or some character or allied topic. 

Sixteen poems from The Golden Treasury are also to be memorized, 
these poems to be recited from the platform, and the teacher to insist on 
their being correctly quoted. The platform requirement is important, as 
it helps students to speak on their feet. The best plan is to allow the 
students to recite whenever they please, instead of having special recita- 
tion days. In that way only one or two will recite each day, oftentimes 
none, and the regular work will not be interfered with. 



THE SECOND YEAR BY WEEKS 

FIRST THREE MONTHS 

(FIRST MONTH) 
FIRST WEEK 

Specific Aim: A review of the past year's work, and an effort to arouse an 
interest in the present year's English course. 

Owing to the fact that part of the opening week Is lost because of the time 
required for the school organization, work is outlined only for Wednesday, 
Thursday, and Friday, 

Recitations 

Wednesday: Chapters III, IV. Discuss kinds of composition, and bring out 
preferences of the class in matter of subjects under each kind. Ask students 
what narrative subject each would prefer to write on, and why, etc. Discuss 
generally. Emphasize necessity of subjects taken from their own experience, 
though discuss others also, pp. 35-.''.(J. Discuss fitting titles to subjects (Chap. 
IV). Take list of subjects, such as horseback riding, automobiles, school, etc., 
and have class fit titles to them. 

Thursday: Chapter V, VI. Take up the kinds of composition, and discuss 
fully the necessity of having a definite plan (59), development of narrative (60), 
descriptions (63), beginnings and endings (07), details (70), value of outlines, 
especially in expositions and arguments (91), suiting style to substance (96), etc. 
Take subject like No. 7, Section III, p. 99, and outline on board as example. 
Select another subject- and require class to bring it outlined for I<"'riday. 

Friday: Chapter VII. Discuss fully paragraph topic (108), length (112), 
relation to outline (113), use in dialogue and quotation (114). Take some 
subject like A Picnic and outline it on board. Then take one paragraph, as 
"Spreading the Lunch," and bring out a suitable topic sentence. Then have 
students write the paragraph in class, some at the board. Also require similar 
exercise brought to class Monday, as well as a short dialogue. If time allows, 
discuss outlines brought in. In all the theme work, try to eradicate particu- 
larly, bad spelling, glaring grammatical errors, and hanging constructions. 
Insist that every student learn to spell the words he has mis-spelled. 

Reading 

Talk about the classics to be read in class and as supplemental reading, how 
you want them read, important things to consider, etc. Impress on the class 
strongly the value of forming the habit of reading good books. 

Arrange with book dealers for the students to secure The Last of the Mohicans 
and The Spy in the Lake Classic Series, Scott, Foresman & Co. 

48 



teachers' manual 49 

second week 

Specific Aim: Continuation of a review of first year's work, developing it 
along new lines as much as possible. 

Monday: Chapter VIII. Discuss fully the sentence, and require class to 
give original illustrations of everything considered, omissions of subject and 
predicate, phrases, clauses, kinds of sentences, eic. If time allows, read some 
of the paragraphs and dialogues handed in and call for criticisms. 

Tuesday: Chapter IX. Cover chapter as carefully as possible, section by 
section, and call for original illustrations of everything, as, for instance, in dis- 
cussing the split infinitive (149), have four or five of the class give you original 
examples of split infinitives and corrections of them. This is very important. 

Wednesday: Chapter X. Impress on students, by numerous examples, value 
of punctuation, and illustrate how change in punctuation of sentences affects 
their meanings. Send pupils to board to illustrate each kind of punctuation 
with original sentences. Have them make up sentences with five or six adjec- 
tives describing one noun ; a horse, man, brook, house, etc. 

Thursday: Chapter XI. Impress on class strongly the value of letter 
writing. Begin lesson by having students write a business letter, some at board, 
and criticize and repeat until bell rings, for notes, formal letters in first and 
third persons, etc. Require class to bring in for Friday a bu-siness letter, formal 
note, and an informal letter of two paragraphs about their school life. 

Friday: Chapter XI (continued). Discuss letters brought in, having some 
of them put on board and, if time allows, continue writing of business letters 
in class. 

THIRD WEEK 

Specific Aim: To discuss the basis of good usage and impress on the students 
its value. 

Monday: Chapter XII, Sections 72-74. Impress upon students the value of 
using the right word in the right place, tho impression men make who are care- 
ful in use of language, etc. Ask class for local examples of words used incor- 
rectly, especially "aint," "dont," etc. If time permits have students write a ten 
minute dialogue and discuss words used incorrectly. 

Tuesday: Sections 75, 76. Discuss fully use of dictionary and its impor- 
tance in the English course. 

Wednesday: Exercises VI, VII. Take up each paragraph. Discuss fully V 
and VI, especially latter. Require a theme handed in for Thursday on some 
subject that suits teacher, as My Favorite Magazine. 

Thursday: Exercises VII, VIII. If time permits, discuss some of the themes 
handed in and have class criticize. Have students hand in paragraph for Fri- 
day, involving as many new words as possible about automobiles, phonographs, 
or aeroplanes. 

Friday: Themes returned and discussed further, also paragraphs handed 
in and discussed. 

FOURTH WEEK 

Specific Aim: A consideration of present, national, and reputable use, 
paying especial attention to local trades, sports, and conditions. 



50 teachers' manual 

Recitations 

Monday: Chapter XIII to 3, p. 235. Have students bring up technical 
words used in trades, sports, etc. 

First discuss meaning of present, national, and reputable words. Then dis- 
cuss present words in Section 78 and discuss particularly political words now 
in use, as progressive, insurgent, stand-patter, initiative, referendum, recall, 
prohibition, intervention, marines, Huertistas, rebels, snipers, suffragettes. If 
there is time have pupils discuss some of these as an oral exercise. Next discuss 
words permissible in poetry. 

Then take up Section 79. 

a. Localisms : referring to school, as bust, exams., prof., etc. Have class 
bring these out. 

b. Technical words. Let each pupil familiar with a trade or sport, banking, 
groceries, railroading, telegraphs, dry -goods, milliners, farmers, etc., and espe- 
cially football and baseball, contribute to the discussion, 

Tuesday: To p. 238. 

a. Foreign words. Discuss paragraph and ask for original contributions. 

b. Discuss Americanisms, paying particular attention to expressions peculiar 
to Texas. The class will give a surprising number of these. 

Require theme handed in for Wednesday, involving some trade or sport, 
using as many words peculiar to topic as possible. 

Wednesday: Sections 80, 82. Impress upon class how language is chang- 
ing ; discuss fully words now in use that formerly were not known or that were 
not in good standing. Let class contribute. If there is time have a ten-minute 
theme written in class involving new words. 

Thursday: Exercise XIII §§I-VIII. Discuss carefully the seven paragraphs. 
Require class to know meanings of words in IV, and have pupils use them in 
sentences. Also have each pupil bring to class a paragraph from a newspaper 
or trade journal involving present technical or new words and have as many 
read in class as there is time for. Continue this Friday if there is time. 

Friday: VIII, IX, X. Bring to class other foreign phrases and discuss with 
class. Make out a list of those every student should be able to recognize on 
sight (see Standard Dictionary). Add to list in X and let class contribute. 

Return and discuss themes. 

Reading 

Have class purchase about Wednesday, The Last of the Mohicans, and assign 
the Introduction, pp. 7-18,* for Monday. 

If an examination is required during the week, Friday's work can be dou- 
bled up with Thursday's and the test given Friday on the month's work. 

(SECOND MONTH) 

FIFTH WEEK 

Specific Aim: To give the students a lively interest in The Last of the 
Mohicans. Also to acquire the historical setting of the story, to observe 
Cooper's style, to become familiar with the new words used, and the lessons 
brought out, and, by no means least, to practice reading aloud. In this last, 

* All page references to the classics refer to the Lake English Classics, pub- 
lished by Scott, Foresman k Co., Chicago. 



teachers' manual 51 

as much time as possible sliould be given eadi day and the students should be 
called on for the criticism of pronunciation, expression, etc. Let the teacher 
see that the voice is kept up at the commas and down at the semicolons and 
periods, and that the period pauses are of sufficient length. One of the aims 
of every English course should be to develop good readers. 

As an aid to oral composition, let the students tell the story of the chapters 
read each day, and besides, in the interest of their critical analysis of the book, 
let them debate, ofC hand, any questions developed in the story. For this pur- 
pose, the teacher himself must be well up on the points involved, so as to lead 
and guide the discussions. lie should come to class prepared on all such ques- 
tions as the probability of the plot, do the characters seem well-drawn, do Cora 
and Alice seem to be real women or merely personifications of impossible virtues, 
is the movement of the story slow or swift, where does the climax occur, does 
Cooper use a wide vocabulary, are his descriptions of Nature good, is he lacking 
in humor, etc. And It should not be forgotten, in judging Cooper, that he is a 
pioneer in American literature, and had to l)laze his own trail. 

Moixhui: Introduction, pp. 7-18. Lay especial stress on the historical set- 
ting of the story, America's condition then. Cooper's acquaintance with the 
American Indian (9), the Indian character (1.5-17), geographical setting of 
the story (18). Let the teacher go over carefully the suggestions for study 
(11-14). 

Tucsdaii: Begin the story, to p. 49. Notice especially how the characters 
are introduced, and have students tell about these introductions in their own 
words. Discuss, with the aid of a map, the country described (19-2:5). Discuss 
"the person" (26), Ileyward, Cora, and Alice, and the Indian runner (28), 
Hawkeye and Chingachgook (40-42), Uncas (46), Indian skill (48), etc. 

Require theme for Weduesday on some incident of the story, as the killing 
of the deer. 

Wednesday: Read to p. 81. Tell about the joining of the two parties (50), 
flight of Magua (59), value of prayer (61), love of animals (63), canoe-ride 
(64), in hiding (67), the cavern (72-73), the cry (78), filial love (80), etc. 

Thursday: Read to p. 114. Tell about the cry (84), wounding of David 
(87), death of the Indian (On, the fight (93), Indian in the tree (97), loss of 
the canoe (99), Uncas' faithfulness (103), etc. 

Friday: Read to p. 156. Continue the telling of the incidents, with the 
primary object of encouraging the students to talk freely. 

Discuss and return themes. 

SIXTH WEEK 

Specific Aim: Let the principal work this week be reading aloud a part of 
each period, a discussion of words and phrases used, and impromptu debates on 
the various points brought up, such as a comparison of Alice and Cora, Chin- 
gachgook and Uncas, Ileyward and Hawkeye, which characters are overdrawn, 
has Magua any virtues, does Cooper know the Indian, the French character as 
shown in the book, etc. Have one of these topics debated each day. 

Monday: Read to p. 196. Have the students read aloud, and see that the 
others in the class arc alert to notice mistakes in pronunciation, etc. Discuss 
new words. 

Debate some one of the questions indicated above. 

Tuesday: Read to p. 238. Read aloud and debate. 

Have students write a character sketch for Wednesday. 



52 teachers' manual 

Wednesday: Read to p. 276. Continue class work as indicated. 

Thursday: Read to p. 316. 

Friday: Read to p. 353. Discuss and return themes. 

SEVENTH WEEK 

Specific Aim: Conclude reading of The Last of the Mohicans, along lines 
already laid down. 

Monday: Read to p. 391. 

Tuesday: Read to p. 416. 

Require as a theme for Wednesday, a dialogue between two of the characters. 

Wednesday: Conclude the reading. 

Thursday: Discuss the book as a whole, and bring out clearly the reasons 
why the students like it or do not like it. 

Friday: Devote the period to the dramatization of some part of the story, 
along the lines laid down in Simons-Orr, Dramatization. 

EIGHTH WEEK 

Specific Aim: A consideration of Barbarisms, Slang, and Newspaper English, 
with the idea of giving the students a sense of fitness with regard to them and 
of discrimination concerning their use. It is useless for the teacher to denounce 
sweepingly slang and newspaper English. But the student should understand 
that they should be used sparingly, — never, except where there is a real excuse 
for them. 

Monday: To Exercise XIV. Start the lesson with a discussion of the sub- 
ject as outlined above. The dialogue (249) well states the case against slang 
as lacking in refinement. A special appeal can be made to the girls on this 
score. Go over this dialogue and discuss changes. For Sections 84 and 85 
bring to class several additional examples from newspapers, especially an account 
of a ball game. 

Supplemental reading. Start the class on The Spy and assign them to p. 144 
for this week. Talk about it, and interest them in the historical setting, have 
them read it as they read The Last of the Mohicans and tell them to keep in 
mind a comparison of the two. Discuss the book in class each Friday. 

Tuesday: Exercise XIV §§ I-IX. Have class prepare especially V and VI. 

Require theme for Wednesday, possibly concerning slang in some way, though 
it may be best not to ask the class to use it in writing, if you do not want it 
used in their everyday speech. A good subject would be 11, p. 253, in good lan- 
guage, and have the proprietor come in and continue the conversation with the 
two. An incident from The Spy will do well also. 

Wednesday: Exercise XIV §§ X-end. Have class bring in newspaper clip- 
pings and discuss. Go over X very carefully. 

Thursday: Discuss and return themes. Give monthly test on The Last of 
the Mohicans and Chapter XIV of Herrick and Damon. Make it a test of 
composition as well as of facts. 

Friday: Discuss the first part of The Spy along lines of The Last of the 
Mohicans, bringing out comparisons of the two. Let the students do the talking, 
though the teacher can bring out the finer points. Assign pp. 144-245 'or next 
week. 



teachers' manual 53 

(TIIIKD MOjS'TII) 
NINTH WEEK 

Specific Aim: An appreciation of poetry, its melody and meaning, aided by 
a discussion of its theory. Tlie students should be taught practical scansion, 
until they can scan at sight any ordinary poem. This will prove easy enough 
to the teacher who first masters it himself. Have the pupils study the intro- 
duction, "The Study of Poetry" (v-43), in Palgrave's The Oolden Treasury 
of the Lake English Series, and then give them practice in scansion as often 
as time allows. 

Monday: Introduction, pp. 13-28. Let the teacher illustrate with other 
poems in text until students understand feet, measure, rhyme, blank verse, 
couplet, etc. See that they understand that poetry follows definite rules, and 
that mere rhyme is not poetry. 

Tuesday: Pages 28-37. Discuss the sonnet, ode, epic, lyric, drama, etc. See 
to it that, during the study of Palgrave, the students can classify the poems 
read. But do not lose sight of the fact that the chief points about poetry are 
its beauty and meaning. 

Require two paragraphs (Chapter VII, Ilerrick and Damon) for Wednesday, 
each about a page and each developing clearly a topic sentence. A few topic 
sentences can be suggested, as "It was the meanest trick (or funniest sight) I 
ever saw."' 

Wednesday: Poems I, VII, X, XVI, XVII, XXVI, XL. Tell class a few 
interesting facts concerning each poet. Discuss with class the lines you and 
they think most musical, and richest in meaning, as, for instance, lines 10, 11, 
12, of XVI, and 1-8, which bring out the condition of the lonely discontented 
man. In VII discuss if the things promised and these alone would bring 
happiness to the girl, etc. 

Thursday: Poems XLV, XLIX, LVI, LXXII, LXXV, LXXIX, LXXIII, 
LXXXIV. Bring out beauty of ideal in LXXV "The Happy Heart" and LXXIX 
"The Man of Life Ucright" and others, and impress them on the students. Show 
pupils how these have always been the world's ideals and always will be, and 
that they must ever have them in mind. 

Discuss and return paragraphs. 

Friday: Discuss the assignment of The Spy along lines suggested. Assign 
to p. 3(32 for next week. 

TENTH WEEK 

Specific Aim: Same as preceding week. 

Monday: Poems XC, XCIV, XCV, XCVI, XCVII, XCVIII, CVII, CIX, CXII, 
CXV, CXVIII. Comment on the kinds of poems, lyrics, sonnets, etc., 
also classify as to meaning, poems on death, love, nobility of character, nature, 
etc. Bring out exquisite beauty of song CXV, and lines 3 and 4, 23, 21, 25, and 
the last stanza of CXVIII. 

Announce today, also, the sixteen poems to be memorized, as follows: 

LXXV, LXXIX, XCIV, XCV, CXV, CXL, CLIV, CLX, CLXXXVII, (first 14 
stanzas), CCXVI, CCXXII, CCLIX, CCLX, CCLXII, CCLXXIX, CCCI. 
Require theme for Tuesday of whatever type seems best. 
Tuesday: CXXVII, CXXXI, CXXXVIII, CXXXIX, CXL, CXLII. 
Note .such lines as the last four of CXXVII, last two of CXL, etc. 



54 teachers' manual 

Wednesday: Milton's "L' Allegro." 

Have class look up the mythology, note Milton's wonderful adjustment of 
the joyous meter to the subject of joy. Show that this poem is the experience of 
a happy man from dawn till bed-time. 

Thursday: CLIV, CLV, CLVII, CLVIII, CLX, CLXI, CLXV. 

Discuss and return themes. 

Friday: Discuss with class pp. 246-362 of The Spy. 

In all of the discussions of The Spy, bring out, not only the story, but all 
questions open for discussion, as indicated for The Last of the Mohicans. 

Have pupils study carefully pp. 7-11 of the Introduction. 



ELEVENTH WEEK 

Specific Aim: Same as previous week. See that students can classify all 
poems read as to structure and meaning, and practice scansion. 

Monday: Gray"s "Elegy," CLXXXVII. Bring out its universal appeal, its 
note of hope for the obscure man, its dignity, its emphasis on the simple vir- 
tues as constituting a well-lived life. Note particularly stanzas 8-18, 

Tuesday: CLXXVI, CLXXIX, CLXXX, CLXXXI, CLXXXIV, CLXXXV, 
CXC, CXCI. Require a theme for Wednesday, a little sketch on some obscure 
hero, "wasting his sweetness on the desert air," but contented to do so. 

Wednesday: CCII, CCV, CCXII, CCXVI, CCXVII, CCXVIII, CCXX, 
CCXXII. Pay particular attention to last poem, as a keynote to Wordsworth's 
philosophy, the influence of God on Ills creatures as manifested through Nature, 
His handiwork. Note lines in third, fourth, and last of fifth stanzas. Also 
note CCXX, as an example of strong feeling, simply expressed. 

Thursday: CCXXVI, CCXLVIl, CCLIX, CCLI, CCLIX, CCLX, CCLXII. 
Read up on setting of the various historical poems. Study especially CCLX, 
as a classical example of refined irony fllerrick and Damon p. 497) and protest 
against War. 

Friday: Conclude the discussion of The Spy, pp. 36.3-45.3, considering par- 
ticularly where the climax occurs, whether the ending is flat or not, which 
character, male and female, seems most natural, etc. Discuss and return 
themes. 

TWELFTH WEEK 

Specific Aim: To conclude the study of The Golden Treasury. 

Monday: CCLXVIII, CCLXIX, CCLXXIV, CCLXXVI, CCLXXIX. Notice 
the swing of the meter in CCLXXIV and choice of words. 

Tuesday: CCLXXXVII, CCXCVII. Note exquisite melody of CCLXVIII 
"To a Skylark," as though it were the bird's own song. Require theme for 
Wednesday, CCLX "After Blenheim," retold by students in prose. 

Wednesday: CCXCVIII, CCXCIX, CCCIV, CCCXXXVII, CCCXXXVIII. 
Study especially the last named poem as a further example of Wordsworth's 
best work. Note especially his doctrine of immortality in fifth stanza, and in 
the first and second how the poet expands the idea that "heaven lies about us 
in our infancy." Every line in these three stanzas is a gem. 

Thursday: Return themes and give a short test, on The OoJden Treasury 
and The Spy. 



teachers' manual 55 

Friday : Arrange an open session. The followlug program is merely 
suggestive : 

1. Recitation — "The Burial of Sir John ^roore." 

2. Debate — The Spy is a better book than The Last of the Mohicans. 

3. Recitation — "Character of a Happy Life." 

4. The Last of the Mohicans. A dramatization (see Simons-Orr — DramO' 
tization). 

5. Impromptu three-minute discussions on "slang," by two students. 

6. Recitation — "Go, Lovely Rose." 

SECOND THREE MONTHS 

(FOURTH MONTH) 

THIRTEENTH WEEK 

Specific Aim: A study in Herrick and Damon, of Improprieties, to make the 
students thoroughly familiar with them, so that they will avoid them. 

Monday: Chap. XV, to Section 88. Have students understand what an 
impropriety is, and impress on them the necessity of care in the choice of 
words, that carelessness in this always denotes the loose and vacant mind, and 
invariably makes a bad impression in society. 

Have students learn the meaning of all the verbs given in Section 87 and 
require them to bring to class written original sentences involving the use of 
the twelve most important distinctions there given, and have these discussed 
in class. This is very important, because it is useless for the students to study 
these things in theory unless they can actually put them into practice. 

Tuesday: Section 88. Treat in same way as 87, requiring the written work 
with original examples. 

Wednesday: Section 89. Treat in same way. 

Thursday: Sections 90 and 91. Treat in same way. 

Friday: Section 92. Have the students study carefully these rules, and in 
class, have them, some at board, illustrate every rule with original sentences. 

FOURTEENTH WEEK 

Specific Aim: A continuation of the study of Improprieties, with as much 
original work on the part of the students as possible. 

Monday: Exercise XV, I-IV. Have students know the meaning of all the 
words, and let them bring twenty sentences written with as many of the words 
used correctly as possible. Have these read aloud and discussed. 

There will be no regular theme for this week. 

Tuesday: V, VI. Treat in same way as previous lesson. 

Wednesday: VII-XI. Carefully go over all the sentences, and have students 
give clear reasons for the changes. 

Thursday: XII, XIII, XIV. Treat in the same way as the previous lesson. 
Insist that the students be able to give a distinct meaning for every word. 

Friday: Give a test on the work of the past two weeks. 

Have students bring to class today, Hawthorne's Tic-ice Told Tales, and 
assign in this Monday's lesson. 

Have them also buy The Vicar of Wakefield for supplemental reading, and 
assign in it Goldsmith's Life, pp. 9-18 (Lake English Classics), and pp. 27-75 
for the following week. Talk about it and interest them in it. The teacher 



56 teachers' manual 

will find in handling the discussion of The ^'icar nf Wakefield, the suggestive 
questions, pp. 267-272, very helpful. Such points as the following should be 
noticed: Are the characters life-lilse? Goldsmith's humor; is the novel too 
didactic? the dififerences in the portrayal of the principal and minor characters; 
do the characters deserve their punishments ? 

FIFTEENTH WEEK 

Specific Aim: Reading Hawthorne's Tivice Told Tales, paying especial at- 
tention to the stories, per se, and getting as much of the author's interpreta- 
tion of life and his style as the students are ready for. 

The class should carefully study pp. 20-3.">, concerning Hawthorne's literary 
style, and keep it in mind during the consideration of the Talcs. 

In addition to this, also, the teacher should study Ueydrick's Types of the 
Short Story, Scott, Foresman and Co., and acquaint himself thoroughly with the 
principles of the short story there laid down. He should then make the students 
acquainted with the types of the short story, and see that they classify each 
of the Tales, as for instance, the "Minister's Black Veil," "The Great Carbuncle," 
"David Swan," and "Mr, Heidegger's Experiment" as types of apologues, "Wake- 
field," "The Hollow of the Three Hills," and "Prophetic Pictures" as types of 
the psychological story, "The Legends of the Province House," "Lady Elean- 
ore's Mantle," "The White Old Maid," etc., as supernatural tales, "The Gray 
Champion" and "The Ambitious Guest" as stories of dramatic incident, etc. 

Have the students consider the purpose of the beginning of each story, If 
the plot is probable, how the story moves, is it interesting, where is the climax, 
are the characters life-like, and many or few, the setting, is there humor, local 
color, descriptions of nature, does the author use wide vocabulary, or figures 
of speech, is the style easy, swift, intense, polished, tame, etc., is the interest 
maintained to the end, is Hawthorne too didactic, etc. All of these principles 
are explained fully in Heydrick, and no teacher should attempt to handle the 
Tales who is not familiar with them. A study of Heydrick by the class some- 
where in the High School course should by all means be made. 

Some of the stories should be given in dramatized form, as for example, 
"David Swan," dramatized by Simons-Orr, p. 74, 2nd year. 

Monday: Introduction, pp. 9-20. An acquaintance with Hawthorne's life will 
increase the student's interest in his stories. 

Tuesday: "The Gray Champion," p. 85, and "The Wedding Knell," p. 55. 

Study each story as indicated in the introduction to this week's work. 

Require theme for Wednesday — a dramatic incident. 

Wednesday: Stories on pp. 66 and 97. 

Thursday : Stories on pp. 137 and 152. 

Friday: Return themes and discuss the week's reading in The Vicar of 
Wakefield. The principles to be discussed concerning the short story, the begin- 
ning, the plot, the climax, the setting, characters, style, ending, etc., can be 
applied to this and other novels ; pp. 76-126 for next week. 

SIXTEENTH WEEK 

Specific Aim: Same as previous week. 
Monday: The stories on pp. 162 and 174. 

Tuesday: The next two stories, pp. 182 and 200. Require a theme for 
Wednesday — a short story of the supernatural, a ghost story. 
Wednesday: The next two stories, pp. 218 and 226. 



teachers' manual 57 

Thursdai/: The stories on pp. 234 and 249. 

Friday: Give a short test on Twice Told Tales Return themes and discuss 
the week's assignment in The Vicar of Wakefield ; pp. 127-197 for next week. 

(FIFTH MONTH) 
SEVENTEENTH WEEK 

Specific Aim: Same as previous week. 

Monday: Stories on pp. 204 and 277. 

Tuesday: Stories on pp. olO and 343. Theme for Wednesday — a character 
sketch from one of the Tales or The Vicar of Wakefield. 

Wednesday: Stories on pp. 3G4 and 386. 

Thursday: Stories on pp. 393 and 414. 

Friday: Discuss the week's reading in The Vicar of Wakefield; p. 198 to 
end for next week, 

EIGHTEENTH WEEK 

Specific Aim: To complete the consideration of Hawthorne's Tales and the 
Vicar of Wakefield. 

Monday: Story on p. 414. Discuss themes of previous week, and return. 

Tuesday: Stories, pp. 505 and 531. A theme for this week on subject as 
desired. 

Wednesday: A general discussion of Twice Told Tales, classifying them, and 
bringing out chiefly which story was liked best and least by each student, 
and why. 

Thursday : Conclude the consideration of The Vicar of Wakefield. 

See Simons-Orr for the dramatization of a part of the story. 

Friday: Devote to a test, based on Twice Told Tales and The Vicar of 
Wakefield. 

NINETEENTH WEEK 

Specific Aim: To make a study of words, with special regard to their 
number. 

Monday: Chapter XVI, to Exercise XVI. Let the teacher in addition to 
those given in the lesson, bring to class other examples. 

Discuss and return themes of previous week. 

Require for Tuesday, the example given in Section 95, rewritten and brought 
to class. 

Tuesday: Discuss the themes brought in. 

Wednesday: Exercise XVI. Have students give a reason for every change. 

For Thursday have No. 11, p. 280, rewritten. 

Thursday: Discuss the themes brought in. For- Friday have all or part 
of No. 12 rewritten. 

Friday: Discuss the written work. 

Have students obtain Dickens's A Tale of Two Cities (Lake English Classics), 
for supplemental reading, and assign Introduction and to page 109 for the 
^'"llowjng- week^ Jn the re^^ding o£ J Tale of T-wo Cities, it will be well for the 
teacncr to study tne introduction, pp. i51-4'6, tor an unaerSwudin^ "f the prob- 
lems which the story presents. Notice the historical setting of the p'-vel, 
although the characters themselves are not liistorical personages, how life-like 



58 teachers' manual 

those characters are, the highly dramatic plot, the effective contrasts presented, 
Dickens's love for theatrical effects which creeps out occasionally, his use of 
catch-phrases to suggest the dominant tone of the emotions, etc. 

TWENTIETH WEEK 

Specific Aim: A continuation of the study of the number of words. 

Monday: Chapter XVII, to Section 97. Bring out reasons for every change. 

Have first selection on p. 282 rewritten for Tuesday. 

Tuesday: Discuss themes, having some read and some written at the board. 
Have 1, p. 282, rewritten for Wednesday. 

Wednesday: To p. 290. Discuss themes. Also discuss the new words which 
the class has acquired during the year. Have students read an Uncle Remus 
story for the unusual use of words. 

Thursday: A test on the work of the past two weeks. 

Friday: Discuss A Tale of Two Cities as outlined above. See that the 
students understand the historical setting ; pp. 108-203 for next week. 

(SIXTH MONTH) 
TWENTY-FIRST WEEK 

Specific Aim: Same as for previous week. 

Monday: pp. 290-292. 

Tuesday: p. 293, Exercise XVII. Have three of the paragraphs brought to 
class rewritten and discussed. 

Wednesday: III and IV, p. 294. See that the newspaper requirement is 
fulfilled. 

Thursday: Have students clip an incident from a newspaper and rewrite 
it, bringing both to class. Discuss. 

Friday: Discussion of A Tale of Tico Cities, pp. 204-303 for next week. 

TWENTY-SECOND WEEK 

Specific Aim: Continuation of the study of Chapter XVII. 

Monday: No. V, p. 295. Have a ten-minute theme written in class, in- 
volving as many of these words as possible. See that the students know all 
the meanings. 

Tuesday: No. VI. Have class bring some of these groups, possibly five, to 
class used in original sentences. 

Wednesday: VII. Insist on oral original examples, involving the use of 
these and their synonyms. 

Thursday: Finish Chapter XVII. 

Friday: Give a test on the past two weeks' work in Herrick and Damon. 

Discuss supplemental reading if there is time. Assign pp. 304-401 for 
next week. 

Have the pupils bring to class today, Julius Caesar, for assignment of lesson. 

TWENTY-THIRD WEEK 

Specific Aim: The study of Julius Caesar. 

In taking up this play, the teacher should study the method used in develop- 
ing The Merchant of Venice in the first year's work, and take up Julius Caesar 



teachers' manual 59 

along the same lines. Study carefully the Introduction to the text, pp. 11-42 
(Lake English Classics), so as to understand thoroughly in the beginning the 
problems the play presents. Note the discussion of the meter, p. 33. 

Monday: Julius Caesar to p. 84. Require a narrative theme for Tuesday 
on the incident of the swimming of the Tiber by Cassius and Caesar. 

Tuesday: Continue to page 84 the reading, for the story's sake. 

Wednesday: Conclude the first reading. 

Thursday: Act I, to p. 57. 

Begin now the more intensive study of the play, with regard to the beauty 
of the lines, character development, the meaning of the various passages, etc. 
Notice how the characters are introduced and for what purpose, as for instance, 
the soothsayer to bring out Caesar's haughtiness, the materialism and idealism 
of the Roman character as exemplified respectively in Cassius and Brutus, the 
ghost to symbolize the spirit of Caesar, etc. Note the climax and the ascension 
to and descension from it, etc. Note particularly the beauty of the lines in 
the scenes between Brutus and Cassius, Act I, Scene ii, and Act IV, Scene ill ; 
between Brutus and Portia, Act II, Scene i ; between Brutus and Lucius, Act IV, 
Scene iii, etc. 

Friday: Discuss the week's reading in A Tale of Tiro Cities, and assign 
pp. 401-513 for next week. Discuss and return themes. 

TWENTY-FOURTH WEEK 

Specific Aim: To continue the more intensive study of the drama. 

Among the topics to be discussea are a comparison of Portia and Calpur- 
nia, and also of Portia with the Portia of The Merchant of Venice, Brutus's 
justification for killing Caesar, his faults and virtues, as well as those of 
Cassius, a comparison of the two orations, the climax of the play, etc. 

Monday: Complete Act I. 

Tuesday: Act II to p. 84. Consider chiefly the beauty of the scene between 
Brutus and Portia. Have this dialogue rewritten for Wednesday's theme. 

Wednesday: Complete Act II. 

Thursday: Complete the discussion of A Tale of Two Cities. Discuss and 
return themes. 

Friday: Arrange an open session. The following program is merely 
suggestive : 

1. Recitation — "The Daffodils." 

2. "David Swan" — A dramatization (see Simons-Orr). 

3. Scene from The Vicar of Wakefield (see Simons-Orr). 

4. Two or three impromptu three-minute talks by any of the students on 
any subject connected with A Tale of Tno Cities. 

5. A Recitation — "After Blenheim." 



THIRD THREE MONTHS 

(SEVENTH MONTH) 

TWENTY-FIFTH WEEK 

Specific Aim: Continue the intensive study of Julius Caesar. 
Monday: Act III. to p. 107. Consider the sincerity of Mark Antony'i 
love for Caesar, and discuss Caesar's death as the climax of the play. 



60 teachers' manual 

Tuesday: Complete Act III. f?ee that the students appreciate the wonder- 
ful skill with which Antony sways his auditors. Require for Wednesday a 
character-sketch from Julius Caesar. 

Wednesday: Act IV. to p. 131. Consider the fairness of Brutus's treatment 
of Cassius in Scene iii., and discuss the characters of the two as here displayed. 

Thursday: Complete Act IV. 

Note the way the spirit of Caesar influences the development of the plot, 
how, though dead, his spirit lives on. 

Friday: Discuss and return the themes, and catch up with the assign- 
ments in Julius Caesar, if behind, 

TWENTY-SIXTH WEEK 

Specific Aim: To conclude the study of Julius Caesar and begin the study 
of the choice of words in Herrick and Damon. 

Monday: Act V. to p. 153. Discuss the death of Cassius, and later the 
death of Brutus. 

Tuesday: Complete Act V. Discuss the play as a whole and develop the 
opinions of the students concerning it. 

Wednesday: Devote to a test on Julius Caesar. 

Thursday: Chapter XVIII, in Herrick and Damon to p. 303. Have the 
students bring to class Friday, at least one example each of a newspaper 
article in which the wording is not appropriate, and have them rewrite it 
and improve on it. 

Friday: Discuss the clippings in the original and rewritten forms. 

Have the class buy Ivanhoe, and assign Biographical Sketch, pp. 17-24, and 
the text to p. 102 (Lake English Classics), for next week. 

The teacher should study pp. 24-35 of the Introduction for a critical appre- 
ciation of Ivanhoe and conduct the class discussions so as to bring up the points 
there raised and explained. 

See that the historical setting of the story is clear in the minds of the 
students, and, for that purpose, discuss fully with them the conditions in Eng- 
land in the days of King Richard and King John. Note that Scott's chief pur- 
pose, however, is not one of instruction, but chiefly pleasure in the story. 
Notice the introduction of the characters, and the parts they play, their 
classification as Saxon, Norman, and characters with whom we sympathize, 
the latter Ivanhoe, Rowena, Richard, Rebecca, and Isaac. Discuss the climax, 
whether the narrative is brisk or halting, the choice of words, descriptions 
of Nature, etc. 

TWENTY-SEVENTH WEEK 

Specific Aim: To continue the study of the choice of words, in Chapter 
XVIIl. 

Monday: pp. 303-306 — Discuss the value of using the right word in the 
right place, — the use of simple, instead of grandiloquent language, etc. 

Tuesday: Section 106, to 4, p. 312. 

Take up connotation, triteness, and concrete as opposed to abstract words, 
and illustrate with original examples. 

Wednesday: To IV., p. 317. Show the use and the abuse of figure? of 
speech. Take up especially II. and III., in Exercise XVIIL, and have reasons 
given for every statement. 



teachers' manual 61 

Tliursday: IV., Exercise XVIII. 

Have these selections brought to class rewritten, and discuss every change. 
Friday: Take up the discussion of Iranhoe, as suggested. Assign pp. 102- 
197 for next week. 

TWENTY-EIGHTH WEEK 

Specific Aim: To conclude the consideration of the choice of words. 

Monday: V., Exercise XVIII. Have class rewrite the first selection and 
discuss fully the accuracy of the choice of words in the second. 

'Tuesday: VI. and VII. Have a paragraph handed in on one of the words 
in VI. Discuss in class the changes to be made in VII. 

Wedtiesday: VIII. and IX., and, in addition, Appendix A, pp. 493-97. Go 
over the selections presented and see that there are clear reasons for the 
changes. 

Thursday: X. and XI. Have the paragraph brought into class rewritten. 
Require a short test on the past two weeks' work. 

Friday: Take up Ivanhoe. Assign pp. 197-298 for the following week. 

(EIGHTH MONTH) 
TWENTY-NINTH WEEK 

Specific Aim: The study of Unity in the sentence. Chapter XIX. 

Monday: Chapter XIX., to Exercise XIX. 

Take up carefully the sentences quoted and discuss others if time permits. 
Have members of the class give original sentences and tue others criticize. 

Tuesday: Exercise XIX., to §V. Notice II. especially, and carefully re- 
write IV. 

Wednesday: V., VI., VII., to 4. Bring all the selections to class rewritten. 
Have some read aloud, and discuss the changes. 

Thursday: Complete VII. Rewrite these and other faulty sentences if time 
permits. Impress strongly on the students the value of Unity. 

Friday: Take up Ivanhoe and assign pp. 299-404 for next week. 

THIRTIETH WEEK 

Specific Aim: The study of Coherence in the sentence Chapter XX. 

Monday: Chapter XX., to Section 114. Impress value of clearness in con- 
struction, especially in business letters. If time permits bring to class other 
examples of ambiguity and discuss. 

Tuesday: To Exercise XX., §111. See that students thoroughly understand 
parallelisms, value of connectives, parenthetical expressions, etc. 

Wednesday: III. to IX. Have the sentences in III. brought to class rewrit- 
ten. Recast VI. and VII. in class, with reasons. 

Thursday: IX. Have ten of these sentences brought rewritten, and rewrite 
the others in class after a discussion. 

Friday: Discuss Ivanhoe as outlined. Assign pp. 405-508 for next week. 

THIRTY-FIRST WEEK 

Specific Aim: The study of Variety and Emphasis in the Sentence, Chap- 
ter XXI. 



62 teachers' manual 

Monday: Chapter XXI., to Section 121. . Notice pgrticularly the added 
charm in the second selection of Section 118, due to the variety of sentences 
used, and the various illustrations in Section 120. 

Tuesday: To Exercise XXI. See that the students are able to give any 
number of original examples of loose and periodic sentences, until the distinction 
is plain to all. 

Wednesday: To VI., p. :'.63. Have the sentences in III. brought to class 
written. Study carefully H. and other selections if time permits. 

Thursday: VI. and VII. Have the sentences in VII. rewritten, and, if 
time allows, point out types of sentences in some other selection. 

Friday: VIII. and IX. Rewrite XVIII. and discuss both VIII. and IX. 
thoroughly in class. If time allows also take up X. Omit the discussion of 
Ivanhoe this week, but assign the remainder of the book for the following week. 

THIRTY-SECOND WEEK 

Specific Aim: The study of the structure of the paragraph Chapter XXII. 

Monday: Chapter XXII., to Section 126. The teacher can not do better 
than to go over the selections presented in the text and see that the students 
see clearly the differences between the good and the bad paragraphs as regards 
unity. 

Tuesday: To Section 128. 

Have the paragraphs given in Section 126, as illustrating coherence in the 
paragraph composed as in Monday's lesson. 

Wednesday: To Exercise XXII. Compare again these paragraphs for an 
understanding of emphasis. 

Thursday: 

Conclude the consideration of Ivanhoe, and take up the book as a whole, as 
well as the last assignment, unless others have been found more suitable. The 
questions for discussion on Ivanhoe given at the beginning of the reading will 
I)rove helpful, and should be considered by class. 

Friday: Devote to a test on Iianhoe and the work in the Rhetoric of the 
past four weeks. 

(NINTH MONTH) 
THIRTY-THIRD WEEK 

Specific Aim: Continue the study of the structure of the paragraph. 

Monday: Exercise XXII., to §V. Rewrite the paragraph indicated in III., 
and bring to class the paragraphs as directed in IV. 

Tuesday: V. Have the class rewrite 3 and 4, and note whether or not the 
other paragraphs possess unify. 

Wednesday: VI., VII., VIII. See that the paragraphs in VI. and VII. are 
written, and read some of them in class and discuss. This lesson is a very 
important one. 

Thursday: IX. and X. See that the students appreciate the coherence of 
the paragraphs in IX., and have them rewrite one of those in X. 

Friday: XI. and XII. Follow carefully the directions in XI., and see that 
the paragraphs in XII. are rewritten. The question of proportion in all things 
is important, and not the least so in the paragraph. 



teachers' manual 63 

thirty-fourth week 

Specific Aim: Conclude Chapter XXII, and begin the study of Structure in 
the Whole Composition, Chapter XXIII. 

Monday: Exercise XXII., §§XIII and XIV. Study these paragraphs care- 
fully for their emphasis or lack of it. Have 2, p. 391, rewritten and read and 
discussed in class. 

Tuesday: Chapter XXIII., to Section 133. Go over these selections care- 
fully, and have 1, p 398, rewritten. Also take time to discuss number 2, p. 399. 

Wednesday: Sections 133 and 134. Take the selections up as you come to 
them and have the students criticize and give reasons for any changes made. 

Thursday: To Exercise XVIII. Discuss the principles and selections as they 
are given in the text, 

Friday: Exercise XXIII. to §VI. Take up particularly the two selections 
specified in V., and let the students do the talking. 

THIRTY-FIFTH WEEK 

Specific Aim: Continue the study of Structure in the Whole Composition. 

Monday: VI. and VII. Have each member of the class bring an outline 
to class, and have some of these outlines written on the board and discussed. 

Tuesday: VIII. and IX. Have number 1, p. 417, rewritten, and discuss the 
others in class. 

Wednesday: X. and XI. Discuss X. in class and have XI. written, as 
indicated. 

Thursday: XII. This is very important. See that each student is able 
to do this. Have the themes discussed in class. 

Friday: XIII. -XVIII. Insist on a careful study of this lesson by the class, 
as it is important that pupils should be able to answer the questions. 

^ THIRTY-SIXTH WEEK 

Specific Aim: To complete Chapter XXIII. 

Monday: XIX. to XXIII. Have number 2 rewritten, and see that the other 
selections are carefully studied. 

Tuesday: XX. and XXI. Have the paragraph in XX. written and brought 
to class, and XXI. also, if time allows. In either case, XXI. should be gone 
over in class. 

Wednesday: Complete Exercise XXII. The remainder of the period should 
be used in reviewing the chapter. 

Thursday: Devote this day to a review of the text as a whole, especially 
the work of the past few weeks. 

Friday: A final test, and make it chiefly a test in general ability to compose 
fairly good English, rather than a test of the memories of the students as 
to facts. 



INTEODUCTION TO THE THIRD YEAR'S WORK 

The third year of the High School course in English is given to the 
completion of the wofk in Herrick and Damon's New Composition and 
Bhetoric and a study of American Literature, based on some good text, such 
as Newcomer's American Literature, which is made the basis of the work 
in this Manual, together witli tlie study of as many classics in American 
literature as there is time for. 

When the student has reached the third year of the High Sciiool he 
ought to be familiar with the technique of sentences and paragraphs since 
this phase of rhetoric was studied thoroughly in the first two years' 
work. For that reason he has now reached the point where he is better 
able to appreciate the theme in its entire form. Hence the discussion on 
the composition as a whole, given in Herrick and Damon, pp. 426 ff., is 
peculiarly api^licable. This discussion of Narration, Description, Exposition, 
and Argumentation covers the ground thoroughly, and will give the student 
an excellent idea of the different classifications of themes. Hov.ever, it 
should be borne in mind that this treatment, as well as all the other dis- 
cussions found in Herrick and Damon, is to be used by the instructor merely 
as a help in teaching the students to write. Only by practice can the students 
learn to write. No amount of technical discussion of narration and descrip- 
tion, unaccompanied by plenty of writing, will enable the students to pro- 
duce better narrations and descriptions, which is the chief aim of any com- 
position course. The teacher, therefore, should always remember that the 
textbook is the guide-post and that the students must themselves follow the 
path, with pen and paper, doing the actual work. The test of the students' 
proficieuLy should not be their accuracy in remembering any particular state- 
ment of the textbook, but their power to write good Narrations, Descrip- 
tions, Expositiors, or Arguments, as the case may be. The boy or girl who 
can do this knows a great deal more that is worth while than the one who 
is able to memorize facts. 

For practical purposes, too, the tea. her should see that the student, at 
this period in his development, as well as in the first two years of the course, 
expresses himself smoothly and naturally. If the teacher is sarcastic and de- 
lights in finding fault with the themes, covering them with corrections, the 
student will quickly lose his freedom of style, and will write in a constrained 
manner. The teacher should encourage always, and should remember that 
even a third-year student is, after all, merely a child, and that he will be 
showing progress if he writes reasonably well at the end of his fourth year. 

In addition to the work in composition and rhetoric, a study of American 
literature, based on a good text such as Newcomer's American Literature, 

65 



66 teachers' manual 

should be made. It is very imi^ortant that every student should know about 
the literature of his own country. Here, too, the teacher must keep in mind 
that the text should be used only to guide the students in their actual study 
of American literature by giving them an acquaintance with the authors 
whose work they are to read, and so interesting them in that work. Do not 
forget that "the proper study of mankind is man." The proper way to 
study any literature is to read that literature, not merely to read about it. 
Reading about Poe's "The Raven" or "The Gold Bug" or Hawthorne's 
The House of the Seven Gables is not nearly so important as actually 
reading the poem oV stories. As has been said before, the text should be 
used merely as a guide, and most of the time should be devoted to the 
reading of the selections themselves.* 

Again, the teacher should ever keep in his mind the ideal that the school 
should prepare for life, and nowhere is this more necessary than in the 
English work. And it is especially important that the English reading be 
so conducted that it will give the students a love for good literature that 
will remain with them after they leave school. Part of the time should be 
devoted to the best modem books. Some of these give us a clear idea of 
American history (as Page's Bed Eoclc), some a more vivid picture of 
American life (as' Bachelor 's D7i and I), while others deal with present day 
l^roblems (as Herrick's The Eeal World or Wharton's The Fruit of the 
Tree). The students, becoming interested in books like these, will acquire 
discrimination and will avoid novels of no value. 

The best plan to follow with this supplemental reading is to assign, say, 
six of these books for reading during the year. Then, instead of discussing 
them in class, have the students report on each book (in writing) as to the 
plot and their opinion of the book. This can be done safely with third-year 
pupils. Among the books that are suitable for reading in this way are The 
Gentleman From Indiana, The Choir Invisible, The Little Shepherd of King- 
dom Come, The Trail of the Lonesome Fine, The Hon. Peter Stirling, The 
Call of the Wild, Kennedy Square, The Bomance of an Old Fashioned Gen- 
tleman, and Bichard Carvel. 

As in the other years of the entire school course, some time should be 
devoted to memorizing worth-while poems. A list of these is given else- 
where, and it is urged that the teachej insist on this part of the work. 

In these ways, by having the students actually write, read, and memorize 

poetry gems, the teacher will enrich the minds of his students and help them 

to appreciate the life of the spirit, without which we are "as the beasts of 

the field." 

* The pupils should be called on frequently to dramatize parts of certain 
boolcs. Simons-Orr's Dramatization (Scott, Foresman & Co.) will give valuable 
suggestions along this line. 



THE THIED YEAR BY WEEKS 

FIRST THREE MONTHS 

(FIRST MONTH) 

FIRST WEEK 

Specific Aim: Review of past year's work. 

Tliis review, while necessarily hurried, should give the class a general 
survey of the past year's worli, so as to make the third year's assignments, 
in fact as well as in theory, a continuation of the work of the second year. 
In this particular instance, too, it will serve to freshen the student's grasp 
of important facts concerning the word, sentence, and paragraph. 

Owing to the fact that part of the opening week is lost because of the time 
required for the school organization, work is outlined only for Wednesday, 
Thursday, and Friday. 

^Vcdnesdal/: Chapter XVI. Go over the examples given carefully, and 
take up in class, particularly, Exercise XVI. 

Thursday: Chapter XVII. Discuss, chiefly, the value of reading in en- 
larging the student's vocabulary, and inspire the class to read during the 
present year. Talk about the supplemental reading from American authors. 
Also discuss the use of the dictionary, and the examples given in the chapter. 

Friday: Chapter XVIII. Consider, particularly, newspaper diction, and 
talk about the value of careful reading of the daily papers. Discuss Exercise 
XVIII, and be sure to let the students do the talking. 

Assign, for supplemental reading, some good editien of Dana's Two Years 
Before the Mast, such as the Lake edition. If Franklin's Autobiography or 
The Sketch Book has been previously read, substitute Ttco Years Before the 
Mast for it as regular class work. If the latter is read as here intended, 
as supplemental reading, assign one-fifth of the book for each installment. Note 
the simple style, vivid descriptions, occasional humor, and fine moral tone. 

SECOND WEEK 

Specific Aim: To conclude the review of the second year's work. 

Monday: Chapter XIX. Have the class bring in rewritten, the selections 
given on pp. 332-3.34, assigning the selections to different groups, and have 
these read and discussed in class. 

Tuesday: Chapter XX. Discuss the value of coherence in life as well 
as in English work. Assign for rewriting the selections in Exercise XX, as 
in Monday's lesson. 

Wednesday: Chapter XXI. Point out the value of variety and emphasis. 
Have each student bring to class six original loose and six periodic sentences. 
Discuss these in class and take up the selections given in the text, if time 
permits. 

67 



68 teachers' manual 

Thursday: Chapter XXII. Discuss as many of the selections as there 
is time for. See that the students appreciate the importance of unity, coher- 
ence, proportion, and emphasis in the paragraph. 

Friday: Chapter XXIII. Bring out clearly the fact that the structure 
of the paragraph and the structure of the whole composition are essentially 
the same, and the importance of emphasis, etc., in both. Study the selec- 
tions given. 

Discuss the first part of Tico Years Before the Mast. 



THIRD WEEK 

Specific Aim: To study the different kinds of composition, along the 
lines laid down in Herrick and Damon, Xcio Composttian and Rhetoric, pp. 
427 ff. 

The review of the preceding chapter will have brought out the fact that 
every composition must have unity, coherence, proportion, and emphasis. Now, 
the student is brought to realize that there are different kinds of composi- 
tion, according to the elements of description, narration, exposition, and 
argumentation that predominate in thorn. But it must be borne clearly in 
mind by the teacher, and impressed on the students, that almost never does 
any composition include only one of these four elements — tbait generally two 
or even three are present in any given composition, and that the name of 
the composition is then taken from the predominant element. For instance, 
in almost every narration there is some description, and possibly exposition 
and argumentation as well. Seldom is a description written without some 
narration. In fact it is sometimes difficult to classify a composition because 
no one element stands out as predominant. 

Monday: Chapter XXIV to Section 140. See that the students under- 
stand what a description is. Bring to class and read to them as many 
examples of good description as time will permit. In every case, try to 
Interest the students in the books from which you have read. 

Tuesday: To Exercise XXIV. Have either the first selection on page 43.3 
brought to class rewritten, or better still, have an original paragraph of 
a moonlight scene brought in. Read and discuss these, and, if there is time, 
read from books other descriptions. 

Wednesday: Exercise XXIV to Section V. Study the selections carefully, 
and, if time permits, read other descriptions to the class, as indicated. The 
importance of this reading cannot be overestimated. 

Thursday: Section V. Have the class bring in this selection rewritten, 
and discuss carefully. If there is suflfcient time, have a ten minute paragraph 
written in class. 

Friday: Have a short description from one of the subjects on page 440 
brought in rewritten, and handed in to be corrected and returned the follow- 
ing week. Then devote the period to reading other descriptions and interesting 
the students in the books. Among the descriptions that may be chosen from 
American authors are the moonlight scene from The Choir Invisible, the circus 
in The Gentleman From Indiana, the funeral or the canyon in The SJcy Pilot, 
Maule's well in The House of the Seren Gables, the tarn in The Fall of the 
House of Usher, or the characters from any good novel or short story. 

Discuss the second part of Tito Tears Before the Mast, 



teachers' manual ' 69 

fourth week 

Specific Aim: To conclude the study of description. 

Monday: Exercise XXIV, VI and VII. Study these carefully and have 
a ten minute description written in class. 

Tuesday: Chapter VIII. Have these selections brought to class re- 
written. Have them read and discussed. 

Wednesday: Call for a theme to be handed in on one of the subjects 
on page 440. Read aloud and discuss in class. 

Thursdai/: The same as for Wednesday, using another of the subjects. 
Remember that frequent writing is necessary. 

Friday: Discuss and return themes handed in, or at least some of them. 
A good exercise during this week would be extemporaneous descriptions by 
members of the class, on such subjects as are given in the text. 

Discuss TiiO Years Before the Mast. 



(SECOND MONTH) 
FIFTH WEEK 

Specific Aim: The study of Narration. 

Be sure that the students understand the chief differences between Descrip- 
tion and Narration, but impress upon them the fact that rarely do we find 
one without some traces of the other. The general scheme in studying Narra- 
tion should be the same as for Description, namely, studying and rewriting, if 
necessary, the selections given in Chapter XXV, reading to the class other 
narrations, and having the students themselves frequently write. 

Monday: Chapter XXV, to Section 14.5. Go over these selections care- 
fully. Read other narratives if possible. 

Tuesday: To Section 147. Discuss climax and the point of view, and 
read selections from at least two of the novels mentioned, as usual with the 
idea of interesting the students to read the entire story. 

Wednesday: Section 147. Discuss the short story as a whole and point 
out its growing importance as a distinct form of prose. Base your discussion 
on the Introduction to Twice Told Tales (Lake Classic Series), and also Hoy- 
drick's Types of the Short Story. Read to the class some good short story, 
for example, one by Bret Harte, and assign, for Thursday, a short story to 
he read from some good writer in the current magazines, for example, Mary 
Stewart Cutting, Booth Tarkington, Maude Radford Warren or one of the 
baseball stories of Charles Van Loan. 

Thursday: The stories that were read should be told by the students, or 
one should be read to them. 

Friday: Have a short narration on one of the subjects on page 4~>~) handed 
in and read a good current story to the class. By reading aloud and com- 
menting upon some inferior story, teach pupils to discriminate between the 
good and bad in current short story writing. Show that a short story, to be 
good, must have a unified plot, vivid descriptions, an action terse and direct 
in movement, a dialogue snappy and natural, without exaggeration of pathos, 
sentimentality, or excitement. 

Discuss Two Years Before the Mast. 



70 teachers' manual 

sixth week 

Specific Aim: To continue the study of Narration. 

Monday: Exercise XXV, to VI. If there is time, read other selections. 

Tuesday: To X. Have IX rewritten. Discuss the changes, asking the 
students why they were made. 

Wednesday: X and XI. Have XI brought to class written, using one 
of the subjects in XIII. Have themes read and discussed. Also read to the 
class a good example of newspaper narrative. 

Thursday: XIV and XV. Discuss the synopsis of a story, and have each 
student bring in two, as suggested in XV. 

Friday: Discuss and return themes. Read a good story, if time permits. 

Conclude the discussion of Tno Years Before the Mast. 



SEVENTH WEEK 

Specific Aim: To conclude the study of Narration and begin that of 
Exposition. 

Monday: Have the first two selections of XVII, Exercise XXV handed 
in rewritten. Have these read aloud and let the students tell why the 
changes were made. 

Tuesday: Take up in the same way the last two selections. Have a ten- 
minute narration written in class and a longer one assigned as the lesson 
for Wednesday, to be handed in. 

Wednesday: Discuss the themes handed in. 

Thursday: Chapter XXVI, to Section 15. Study carefully the two selec- 
tions given, and read others if there is time. 

Friday: To Exercise XXVI. Pay especial attention to the question of 
honesty in giving credit for borrowed material. Return corrected the themes 
handed in on Wednesday. 

Assign as supplemental reading for nest week, and as preparation for the 
coming study of argumentation, the Lake edition of the Orations of Washing- 
ton, Weister and IJncoln. 

EIGHTH WEEK 

Specific Aim: To continue the study of Exposition. 

Monday: Exercise XXVI to IV. Discuss carefully the differences of the 
two selections given in I, and show how mere definition seldom suffices to 
explain any object or subject, and how necessary other forms of composition 
are in Exposition. 

Tuesday: IV, V, and VI. Have a short exposition brought in written as 
pointed out in IV. See that the faults in VI are clearly understood. 

Wednesday: VII and VIII. Have VIII brought to class rewritten. Discuss 
the changes made and read some good examples. 

Thursday: Call for today an exposition involving chronological order, 
such as the "Story of Cotton," from the planting, through the gin. 

Friday: Devote Friday to a test on the past eight weeks' work. 

Discuss the oration, beginning on p. 35. 



TEACHERS MANUAL 1 1 

(THIRD MONTH) 
NINTH WEEK 

Specific Aim: To conclude the study of Exposition. 

Monday: Have handed in for Monday another exposition involving some 
actual experience, as "Baking Bread" for the girls and "Planting a Garden" 
for the boys. 

Tuesday: Exercise XXVI, IX, X, and XI. Go over these selections care- 
fully and, if there is time, discuss the use and value of the outline. 

Wednesday: XII. Have these brought to class written out, and have 
some of them put ou the board, and discussed. 

Thursday: XIII. The students should come to class prepared to discuss 
every change. If there is any time left over, spend it discussing outlines. 
Have one written in class if possible. 

Friday: Discuss and return the themes handed in Monday. 

Discuss the oration, p. 50. 

TENTH WEEK 

Specific Aim: The study of Argumentation. The consideration of this 
subject will be especially apropos if there is a debating society in the school; 
if there is none, this will be a good occasion to organize one. 

Monday: Chapter XXVII, to 2, page 479. Give the students a clear idea 
of what proof and argument aie, and impress on them the necessity of organ- 
izing their ideas in an orderly manner in preparing briefs. 

Tuesday: To Exercise XXVII. Develop in class, asking the students to 
help, a brief for Manual Training similar to the one for Domestic Science. 

Wednesday: Exercise XXVII, I and II. If nothing more is done with II, 
have the students write out, as a preparation for the lesson, three argu- 
ments for, and three against, four of the propositions named. Develop these 
in class, using the blackboard. 

Thursday: III and IV. Have the arguments sketched for three of the 
questions mentioned in III, and develop, using the blackboard. Criticize 
carefully the arguments in IV. The wide-awake teacher will conduct the 
discussions so as to really interest the students in these questions. Most of 
thorn ought to be debated in the debating club, and some in class. 

Friday: Assign a debate on the question of the desirability of a college 
education or the question of woman suffrage, for Friday. Have half the class 
prepare the affirmative and half the negative arguments, and choose three 
speakers to represent each side. 

Discuss the oration, p. 75. 



ELEVENTH WEEK 

Specific Aim: To conclude the study of Argumentation. 

Monday: Exercise XXVII, V-VII. Discuss fully the question of the 
income tax and the college diploma. Have the students discuss the argu- 
ments presented, and give their own views. Talk to them about the income 
tax in other countries, etc. 



iZ TEACHERS MANUAL 

Tuesday: VIII and IX. Have the students bring to class, written, the 
arguments for and against two of tlie propositions mentioned. Debate the 
question of moving pictures, if time allows. 

Wednesday: X. Have the briefs brought to class written, and discuss 
them. Let one or two be written on the blackboard. 

Thursday: Have a brief brought in on one of the questions mentioned in 
XIV. Let these be discussed as on the previous day. 

It cannot be too fully impressed on the teacher that these lessons on 
current topics should be conducted, chiefly, with the aim of interesting the 
students in the questions. Urge them to read the newspapers for views 
presented there on these topics. Xo High School course is worth while that 
does not help to make of the students better citizens, and nothing will help 
to make them such as an Interest in current questions, and the teacher 
should take steps to see that this interest is developed at every opportunity. 

Friday: Devote Friday to a tost on the work of the past three weeks. 

Discuss the oration, p. 1.30. 

TWELFTH WEEK 

Specific Aim: Practical drill in Argumentation, along the lines laid down 
in the work of the preceding two weeks. 

For each of the days of this week assign a question of timely interest 
and require half of the class to write a brief of the arguments for and the 
other half a brief of the arguments against the proposition. Then, as already 
suggested, choose three speakers from each side and let them debate the 
question in class for thirty minutes. Devote the other fifteen minutes to 
a discussion by the rest of the class of the merits of the arguments presented. 
Have the briefs handed in at the beginning of the period, and let the speaking 
all be extemporaneous. 

Here are some of the questions that can be debated during the week, 
and those that seem best can be chosen by each teacher : 

The Boy Scout Movement, Increased Expenditure for the Army and Navy, 
A Curfew Law, The Value of Moving Pictures, The Income Tax, Footliall, 
Immigration, Capital Punishment, Woman Suffrage, and Compulsory Education. 

The students should be urged to get their facts wherever available, from 
books, newspapers, magazines, well-informed persons, etc. 

Discuss the orations, pp. 143148. 



SECOND THREE MONTHS 

(FOURTH MONTH) 

THIRTEENTH WEEK 

Specific Aim: To study the beginnings of American literature. 

In presenting the literature of America before 1800 the teacher should 
impress on the class that this period is interesting chiefly as illustrating the 
development of the art and that, with the exception of Franklin's Autobiog- 
raphy and a few political speeches of the Revolutionary period, there was 
little worth-while literature produced at this time. 



teachers' manual 73 

Monday: The Introduction and Chapter I to Poetry, page 22.* Discuss 
the social conditions in America at this time and impress on the students 
why, under such unsettled conditions as then existed, literature could not be 
produced. 

Tuesday: To Chapter II. The dominant idea here is that litei-ature 
reflects the life of the people and that because religion was the chief concern 
of the people at that time, religious literature, almost exclusively, was produced. 

Have a theme handed in for Wednesday, concerning the social or religious 
life of the colonies, such as An Indian Attack, Clearing a Field, Going to 
Church, etc. 

Wednesday: Chapter II. See that the students appreciate Franklin's 
pioneer activities and the many-sidedness of his career. 

Thursday: Chapter III, paying particular attention to oratory and political 
prose. Connect this chapter with Revolutionary History. Read to the class 
Patrick Henry's speech. 

Friday* Conclude Chapter IH if unfinished. Discuss and return themes. 
Have class bring Franklin's Autobiography to class and assign the Introduc- 
tion, pages 1-24 (Lake English Classics), for Monday, comparing it with the 
treatment given in Newcomer. 

FOURTEENTH 'WEEK 

Specific Aim: A study of Franklin's Autohioyraohy. If the Autobiography 
has been read during the first year, substitute Dana's Two Years Before the Mast. 
This also applies to The Sketch Book, to be read later. 

In studying the Autobiography, note particularly the simplicity of the 
style and its deep moral purpose. Have the story told in the student's own 
words. 

Monday: The Introduction. 

Tuesday: Pages 29-44. f Have the story told in the words of the stu- 
dents. Let them read aloud and let the class make the corrections. 

Wednesday: Have the pupils prepare a composition, telling the story of 
the wharf and salt-marsh as if they had been present. 

Wednesday: Pages 44-59. Discuss particularly Franklin's method for 
improving his style and impress the lesson that genius is the capacity for 
work. Have stories told by class and read aloud. 

Thursday: Pages 59-74. Let the story be told of Franklin's arrival in 
Philadelphia and his first experiences there. 

Friday: Discuss and return themes. Have some read aloud, others put 
on the board if time allows. 

FIFTEENTH WEEK 

Specific Aim: To continue the study of Franklin's Autobiography. 
Monday: Pages 74-89. Discuss Franklin's efforts at self -improvement 
and his trip to England. 

*A11 page references in the study of American literature are to Newcomer's 
American Literature, Scott, Foresman & Co. 

tAll page references to classics refer to the Lake En-?lish Edition, Scott, 
Foresman & Co. 



<4 TEACHERS MANUAL 

Tuesday: Pages 89-105. The moral questions discussed in this lesson con- 
cerning, drinking r.nd the others that come up from page to page can be 
impressed ou the students by the conscientious teacher. These impressions 
should be made in an incidental way, however, rather than by direct sermon- 
izing. Have a theme written for Wednesday on one of the characters or 
incidents of the book. 

Wednenday: Pages 105-120. Discuss the Junto and, if there is no such 
club in your school, see if you cannot interest the class so that one will be 
organized. 

Thursday: Pages 120-135. Continue having the story told. Discuss the 
meanings of the unfamiliar words found. Have the students read aloud if 
time permits. 

Friday: Discuss and return themes. 

SIXTEENTH WEEK 

Specific Aim: Conclude the Autohioyraphy and take up Newcomer again. 

Monday: Pages 135-151. Take up in detail Franklin's plan for self- 
improvement. It will be best to conclude the detailed study of the Autobioy- 
raphi/ with this lesson and have the remaining pages read as supplemental 
reading during this and next week. 

Tuesday: In Newcomer, pages 53-64. Impress on the students that the 
work of these writers is important merely as showing how the creative impulse 
began. 

Wednesday: Pages 6-1-70. Take up in detail Irving's early life. Require 
a theme for Thursday concerning an imaginary escapade of the boy Irving. 

Thursday: Pages 70-77. The later life of Irving. Try to encourage tlie 
students to read some of Irving, such as the Talcs of a Trareller (Lake 
Series). 

Friday: Discuss and return themes. Read the best ones to the class. 
Assign Tlie Sketch Book (Lake Series) for Monday. Take up Franklin's Auto- 
biography, pages 151-210, and discuss. Assign the remaining pages for next 
week. 

(FIFTH MONTH) 

SEVENTEENTH WEEK 

Specific Aim: A study of Irving's Sketch Book. Bring up, during this 
study, the many sides to Irving's style, his ability to handle the short story, 
as "Rip Van Winkle," the travel-sketch like "The Country Church," and essays 
like "Westminster Abbey," his delightful humor, his pathos, descriptions of 
nature, his views on life, etc., and everywhere evident, the wonderful delicacy of 
touch in whatever he undertakes. It will not be hard for the pupils to 
appreciate Irving's charm. 

Monday: Introduction, to page 24. Compare this sketch of Irving's life 
with Newcomer's. What new facts are here brought out? 

Tuesday: Pages 46-58. Note what Irving has to say of himself and his 
power of nature descriptions. Discuss in every lesson new words, and have 
the story told by the students. 

Wednesday: Pages 58-75. In "Roscoe" discuss with the class the value of 
public service, of high ideals of citizenship, of books and of a library. Also 



teachers' manual 75 

see that pupils appreciate the charm and delicacy of "The Wife." Assign for 
Thursday a thonie ou An Act of Faithfulness. 

Thursdaij: Discuss the assignment of the Autohitxjraphij and take it up as 
a whole. Let each student give his impression of it and ask for the reasons 
for each estimate. 

Friduii: Road some of the themes and discuss them. If time allows, have 
a ten-minute theme written in class and have some read aloud. 

Assign Irving's Tales of a Traveller for supplemental reading for next week. 
Note how Irving's characteristics, as brought out in Newcomer, are exhibited in 
the Tales. 

EIGHTEENTH WEEK 

Specific Aim: Continue the study of The Sketch Book. 

Monday: "Rip Van Winkle." See Ileydrick, Types of the Short Story, Lake 
English Classics, p. 21. Discuss it at length and let the class tell the story. 
Contrast it with "The Wife." Speak of other American humorists. 

Tuesday: Pages 107-122. Irving's fame as a close observer should be 
noted, as shown in his impressions of rural England. Contrast the humor 
of "Rip Van Winkle" with the pathos of "The Broken Heart." Ask the 
students which they like and why. 

Assign for Wednesday a dialogue between Rip and his wife. 

Wednesday: Pages 140-161. Notice the comparison of the two families 
in the first sketcli and compare the second with "The Broken Heart." 

Thursday: Pages 203-244. Compare "The Spectre Bridegroom" with 
other ghost stories, including "The Legend of Sleepy Hollow" and "The 
Haunted and the Haunters," in Types of the Short Story (Lake English 
Classics). 

Friday: Discuss and return themes. Have some original dialogue written 
off-hand on the lioard and discuss, if time permits. 

Discuss Tales of a Traveller, Lake Edition, pp. 41-80. 



NINETEENTH WEEK 

Specific Aim: Continue the study of The Sketch Book. 

Monday: Pages 224-237. Discuss, as on other days, the unfamiliar words 
and involved passages, if any. 

Tuesday: Pages 237-252. Talk about the decay in our modern life, of 
the fine old customs of the past. Discuss the real meaning of the Ciiristmas 
spirir. Have a Sauta Claus story written for Wednesday. 

Wednesday: Pages 2.52-20.5. Read aloud and have the students criticize 
the pronunciation. 

Thursday: Pages 26.5-2S1. In every case have the story told by the class, 
and comiiare the old with modern customs. Discuss the question, "Was life 
in the old days pleasanter than life today?" 

Friday: Discuss and return themes. Have the students tell other Sauta 
Claus stories, if time permits. 

Discuss Tales of a TrarcUer, pp. 80-144. 



76 teachers' manual 

twentieth week 

Specific Aim: Conclude the reading of TJie Sketch Book. 

Monday: Pages 322-344. Have the students tell what struck them as 
interesting in the sketch. Discuss travel in general and talk about reading 
some of Shakspere's plays. 

Tuesday: Pages 357-377. Tell the story and compare it with other 
Indian stories, like The Last o^ the Mohicans. Have an Indian story written 
for Wednesday. 

Wednesday: Pages 390-411. Tell the stories, especially the second. Note 
the charm with which they are told. Have some fishing stories told if there 
is time. Discuss unusual words. 

Thursday: Pages 411-449. Bring out the humor of the descriptions. Ask 
the students how they would like to have gone to school to Ichabod. 

Friday: Discuss and return themes. Have a ten-minute ghost story 
written in class and let some be read aloud. 

Discuss Tales of a Traveller, pp. 145-188. 

(SIXTH MONTH) 
TWENTY-FIRST WEEK 

Specific Aim: A continuation of the study of American Literature. 

Monday: Pages 77-85. Have the early story of Cooper's life told in the 
student's own words. 

Assign for Tuesday a theme, an exposition on how to make or cook 
something. 

Tuesday: Pages 85-93. Discuss thoroughly Cooper's novels. Bring out 
which one the students like best and why. Discuss Cooper's characteristics 
as brought out in The Spy and The Last of the Mohicans, read the preceding 
year. Encourage the class to read some of his other stories. 

Wednesday: Pages 9;M00. Discuss chiefly Drake, Halleck, Willis, and 
Key, and read to the class specimens of their poetry. Read particularly 
the "Star Spangled Banner," and tell about the circumstances of its writing. 
Discuss patriotism in general. 

Thursday: Pages 100-110. Discuss fully the life of Bryant, in such a 
way as to interest the class in his poetry. Have the students bring to class, 
Monday, copies of Bryant's Poems. If time permits read some to them. 

Friday: Return and discuss themes. Have a ten-minute exposition written 
in class, some at the board. 

Discuss Tales of a Traveller, pp. 188-254. 

TWENTY-SECOND WEEK 

Specific Aim: To conclude the study of Bryant and take up Poe. 

Monday: Have the students read for Monday the poem, "Sella," or read 
it to them. For Tuesday have them hand in an imaginary journey of Sella's. 

Tuesday: Read "Thanatopsis," "A Forest Hymn<" "To a Waterfowl," 
"Waiting by the Gate," "The Fringed Gentian," "The Death of the Flowers," 
"The Flood of Years," and other poems. 

Wednesday: Complete the reading of the above poems, and read others 
if time permits. Notice in all these, Bryant's characteristics, his moral 



teachers' manual 77 

earnestness, his intense love of Nature, his lack of liumor, the melody of the 
linos, etc. 

Thutsday: Begin now the study of the American Romance, as exemplified 
in Poe and Hawthorne. Study the life of Poe, pages 111-318. 

Friday: Complete the criticism of Poe, pages 118-127, and discuss and 
return the themes handed in Tuesday. Have the class purchase Poe"s Poems 
and Tales. 

Discuss Tales of a Traveller, pp. 254-304. 



TWENTY-THIRD WEEK 

Specific Aim: To begin the reading of Poe's Poems and Tales. 

In studying Poe"s works, the teacher should see that his characteristics 
of style are brought out, his large vocabulary, vivid descriptions, love of 
horror and the supernatural, lack of real humor, his mastery of plot and 
setting, his subtle analysis, the wonderful melody of his poetry, etc. See 
Ileydrick, Types of the Short Story, Lake Series. 

Monday: The Introduction, pages 9-oO. Discuss Poe's life and work as 
here set forth, and compare with the account given in Newcomer. 

Tuesday: Pages 33-54. Note the wonderful melody of "Annabel Lee," 
"The Bells," and others. In "The Raven" see that the students understand 
that "The Raven" typifies the melancholy that settles down on each man's 
soul at times. 

Wednesday: Pages 103-133. Note the way Poe prepares you for the 
horrors of the story by his descriptions of the House and its surroundings. 
Discuss the new words found. 

Thursday: The stories on pages 160 and 175, bring out particularly Poe's 
conception of love in the first and his fine description of the ball-rooms in the 
second. 

Friday: Devote Friday to catching up with any work unfinished, and 
if the class is not behind, let the period be taken up with the writing of 
business letters, some at the board. (See Herrick and Damon, Chapter XI.) 

Discuss Tales of a Traveller, pp. 304-388. 



TWENTY-FOURTH WEEK 

Specific Aim,: To conclude the readings from Poe, and to inspire the 
students to a further reading of Poe. 

Monday: Pages 185-208. Compare the story with "The Fall of the 
House of Usher" and "The Descent Into the Maelstrom," and discuss which 
seems the best example of sheer horror. See Heydrick, Types of the Short 
Story, p. 119. 

Tuesday: Pages 209-239. Compare this and the following detective story 
with those already read. Discuss the kind liked best and why. Consider 
the new words found, and, as on other days, have the story told. See Ileydrick, 
p. 236. 

Wednesday: Pages 239-266. Continue the telling of the story, and note 
the clever way in which the plot is worked out. 



78 teachers' manual 

Thursday: Pages 267-298. Discuss which of the two detective stories is 
liked the better, and also compare Poe's skill in handling this type of storj 
with other writers of detective stories, such as Anna Kathryu Green and 
Conan Doyle. For dramatization, see Simons-Orr, p. 59. 

Friday: Devote to a test on Poe and the other writers discussed. 



THIRD THREE MONTHS 

(SEVENTH MONTH) 
TWENTY-FIFTH WEEK 

Specific Aim: The study of Hawthorne. 

Monday: Pages 130-138. In considering his short stories, discuss the 
Twice Told Tales read the year before, and In-ing out Hawthorne's chief 
characteristics as there displayed. 

Tuesday: Pages 138-147. Bring out the fact that Hawthorne's romances 
though highly imaginative, are based on actual facts and conditions, that he 
is a realist as well as an idealist. 

Require a personal letter written as a theme for Wednesday. 

Wednesday: Introduction to The House of the Seven Gahles, pages 17-22, 
Bring out particularly Hawthorne's characteristics, the mystical, supernatural 
quality of his themes, his skill in analyzing mental states and feelings, his 
graceful, dignified eloquent style, his pathos, his irony, his skill at character 
delineatiou, etc. The moral of the tale that the sins of the father shall be 
visited unto the children, should be clearly developed. The House of the 
Sereii (tables is a splendid study of heredity. The way in which Judge 
Pyncl'oon's sins finally overtook him, and the Influence on others of a lovable 
sunny disposition such as Phoebe's should not be overlooked. 

Thursday: Pages 27-.54. Notice the description of the house of Colonel 
Pyncheon, of old M^ule, the story of their deaths, etc. Have the stories told 
by the class. 

Friday: Return and discuss themes. Have a business letter written in 
class, some pupils at the board. 

TWENTY SIXTH WEEK 

Specific Aim: To continue the reading of The House of the Seven 
Oahles. 

Monday: Pages .5.5-07, and any of the first chapter not completed. Note 
the fine description of Hepzibah. 

Have a ghost-story written and handed in Tuesday. 

Tuesday: Pages 68-82. Note the introduction of Holgrave, the pride in 
family as exhibited by Hepzibah, etc. Let the students relate some of the 
incidents and, if time allows, have some reading aloud, letting the class 
criticize. 

Wednesday: Pages 83-98. Insist in all these chapters that the students 
look up in the dictionary the unfamiliar words, and take these up each day 
in class. 

Thursday: Pages 99-115. Bring out the contrast between the two 
women, and impress on the students the influence, for good or evil, of our 
associations with others. 



teachers' manual ' 79 

Friday: Discuss and return themes. Have a ten-minute theme written 
in class. 

TWENTY-SEVENTH WEEK 

Specific Aim: To continue the reading of The House of the Secen Gables. 

Monday: Pages 116-145. Bring out the description of tlie garden and 
of Ilepzibah's brother, Clifford. 

Tuesday: I'ages 146-177. Contrast the two men, Clifford and Judge 
I'yucheon. Also develop the influence of Phoebe over Clifford. 

For Wednesday have a sketch of one of the characters written. 

Wednesday: Pages 178-207. Have the incidents told, especially of the 
organ-grinder and the procession. Discuss the new words, as usual. 

Thursday: Pages 208-248. The story of Alice can be told in its entirety. 
Discuss the question of spiritualism, as brought out in the story. 

Friday: • Discuss and return themes, and spend the rest of the period 
in catching up with the work of the week, if the class is behind ; otherwise, 
have a ten-minute character-sketch written. 



TWENTY-EIGHTH WEEK 

Specific Aim: To conclude the reading of The House of the Seren Gables. 

Monday: Pages 249-279. Note particularly Uncle Venner's tribute to 
Phoebe, and the characterization of men of Judge Pyncheon's type in the 
succeeding chapter. 

Tuesday: Pages 280-309. Contrast a modern railroad journey with the 
l)atlietic flight of Clifford and Hepzibah. 

Require a theme for Wednesday, a description of a short railroad journey, 
paying particular attention to describing the passengers. 

Wednesday: Pages .310-.34.5. The student should be made to appreciate 
the extraordinary skill with which the theme of the Judge's death is handled 
in the first chapter. (See Newcomer, pages 139ff.) 

Thursday: Finish the story, and discuss it as a whole. Each student 
should tell whether he likes it or not. and why. 

Friday: Return and discuss themes, and give a test on Hawthorne. 



(EIGHTH MONTH) 
TWENTY NINTH WEEK 

Specific Aim: The study of the Transcendental movement, as set forth 
in the text on American Literature. Have students purchase Emerson's Essays 
and Addresses. 

Monday: Pages 150-156. The best way to describe the Transcendental 
movement to High School pupils, probably, is to consider it simply as a 
doctrine of "plain living and high thinking," a serious effort to morally uplift 
the world. The deeper philosophy need not be discussed to any great extent. 

Tuesday: Pages 156-162. Take up the life of Emerson, and try to interest 
the students in it. Spend part of the period reading his essay on "Manners," 
pages 96-125, in the Scott, Foresman Edition. 



80 " teachers' manual 

Wednesdau: Pages 162-169. Continue t'..e tliscussion of Emerson's life and 
fluisb the essay on "Manners." 

Thursday: Take up pp. 23-.' 1 in the Essays and note Emerson's eharac- 
teristics of style, as discussed on page 165 of Newcomer. 

Require a theme handed in today on some type of behavior, as "A Polite 
Action," "A Generous Deed." 

Friday: Pages 169-180. Compare the two men, Emerson and Thoreau, 
and ask the class which man they would have preferred to know well. 

- Assign the essays on pp. 52, 58, 126, 148, and 164 as supplemental reading 
during the nest three weeks. 



THIRTIETH WEEK 

Specific Aim: To continue the study of American Literature. 

Movday: Pages 181-187. Take up a part of the time reading to the class 
selections from these orators. Compare the selections read with those of Wash- 
iiifiton, Wchsier, and Lincoln, already studied. 

Tuesday: Pages 187-191. After discussing the men, spend the rest of 
the period reading selections from their work, in order to interest the cUiss 
in reading them, especially The Conquest of Mexico and The Rise of the 
Dutch Repuhlic. 

Wednesday: Pages 191-198. Take up Longfellow's life and spend the 
rest of the time reading some of tlio sho'-ter favorite pooms to the class. 

Thursday: Pages 198 204. Finish the discussion of Longfellow's life, 
paying especial attention to the criticism of his style, pages 201ff. If time 
permits, continue reading to the class some of liis poems. 

Friday: Have the students purchase Longfellow's narrative poems. Assign 
the introductory notes on the poet's life and style, pages 13-30 and compare 
with Newcomer. 

Discuss the week's assignment of Emerson. 



THIRTY-FIRST WEEK 

Specific Aim: To read the narrative poems of Longfellow. 

Monday: Pages 36-48. Let the students tell the story of the two poems, 
and note the melody of the verse. In this study of Longfellow, be sure to 
notice how well the criticisms of the poet's work in Newcomer and in the 
introduction to the present volume fit the actual poems. Notice also, his 
simplicity, melody, breadth of thouglit, versatility, etc. 

Tuesday: Pages 298-310. See that the class under-stands the general plan 
of the poems. Note the different characters as introduced. 

Wednesday: Pages 310-321. Have the stories told. Consider any new 
words. Read aloud, if time permits. 

Thursday: Pages 321-327. Have the story told and discuss which of 
the tales, so far, is the best. 

If there is time during the week, have a ten-uiinute theme written in 
class on a falcon-hunt, or other topic suggested by the poems. 

Friday: Pages .327-342. Talk to the class about the old Norse mythology 
and arouse interest in the subject. Consider the unfamiliar words. 

Discuss the week's assignment of Emerson. 



teachers' manual 81 

thirty-second week 

Specific Aim: To conclude the reading of Longfellow's poems. 

Monday: Pages 342-357. Continue the discussion of these Norse tales, 
and have the story of each told. Consider the unfamiliar words. 

Tuesday: Complete the tales, pages 357-371. Read some of the poems 
aloud to the class. 

Wednesday: Pages 371-37S. Discuss, in connection with this poem, the 
Inquisition in its historical setting. Also call attention, in this in many 
other of Longfellow's poems to the note of sadness, an echo of the poet's life. 

Thursday: The last tale. This is a good opportunity to give the class 
a lesson in nature study by talking about native birds, and also to instill 
in pupils the love for dumb creatures. This poem is strong also in charac- 
terizations, for example, see the Squire, the Parson, and the Schoolmaster, 
A dramatization of this tale could be easily arranged. See Simons-Orr 
Dramatisation, pages 42-59. 

Discuss the week's assignment of Emerson. 

Friday: Give a test on the past four weeks' work. 

Also assign the other poems in this volume with which the class is not 
familiar, for supplemental reading, and require a short written report on 
each. 

(NINTH MONTH) 

THIRTY-THIRD WEEK 

Specific Aim: To continue the study of American Literature. 

Monday: Pages 205-210. Discuss the facts of Whittier's life and talk 
in general about his poems. Spend the rest of the period reading and talking 
about "Maud Muller," "My Playmates," "The Vanishers," etc. 

Tuesday: Pages 210-215. Finish the discussion of Whittier's life and 
work and begin the reading of "Snow-Bound." Talk about the characters 
and ask the students if they know people like them. Read "Snow-Bound" 
chiefly for the qualities of Whittier's style. 

Require a theme for Wednesday, on A Snow Scene. 

Wednesday. Conclude the reading of "Snow-Bound," and discuss its merits. 
See if the students care for it, and why. 

Thursday : Pages 215-221. See that the main facts of Lowell's life are 
impressed on the class. Read to the class "To the Dandelion," "The First 
Snow-Fail," and others of the short poems. 

Friday: Return and discuss the themes handed in. Have a ten-minute 
theme written in class. 

THIRTY-FOURTH WEEK 

Specific Aim: The study of Lowell and Holmes. 

Monday: Pages 221-230. Complete the life of Lowell and read and dis- 
cuss the Prelude to "The Vision of Sir Launfal." 

Tuesday: Read the first part of "The Vision of Sir Launfal," and talk 
about the descriptions, the melody of the lines, the historical setting, charity, 
etc. 

Require a theme for Wednesday, An Act of True Charity. 

Wednesday: Complete the poem, and take up the lessons taught. 



82 teachers' manual, 

Thursday: Pages 230-235. Take up Holmes' life and read to the class 
some of his short poems, like "Old Ironsides," "The Last Leaf," "The Chambered 
Nautilus," and "The Deacon's Masterpiece." 

Friday: Discuss and return the themes handed in. 

THIRTY-FIFTH WEEK 

Specific Aim: To complete the study of Holmes, and take up the Southern 
poets. 

Monday: Complete the story of Holmes' life and read selections from 
Tlie Autocrat of the Breakfast Table. Try to interest the class in reading this. 
- Tuesday: Pages 270-272. Read selections from the poetry of Hayne and 
Father Ryan. Talk about the poems and let the students discuss their 
preferences. 
.. . Wednesday: Read to the class from the poems of Timrod, and discuss. 
Thursday: Pages 272-275. Read as much of Lanier as there is time for, 
after taking up his life. 

Friday: Continue the readings to the class from Lanier. See that the 
students arrive at a just appreciation of the work of the Southern poets. 

THIRTY-SIXTH WEEK 

Specific Aim: To conclude the study of American Literature. 

Monday: Pages 276-282. Interest the class in Clemens, Ilarto and Miller, 
by talking about their books and reading selections from them, chiefly Clemens 
and Harte. 

Tuesday: Pages 282-287. Take up these writers and talk about their 
lives and read from their works. 

Wednesday: Chapter X. Study particularly Aldrich. Interest them in his 
stories and read to them "The Ballad of Baby Bell." Compare this lyric with 
"Annabel Lee." 

Thursday: Chapter XI. Treat these authors as those in the preceding 
chapters have been treated. 

Friday: A final test on the poets and authors studied. 



INTEODUCTION TO THE FOURTH YEAR'S WORK 

Specific Aim 

The purpose of the work for the Fourth Year is three-fold: (a) To 
acquire, systematize, and fix the fundamental facts of the History of English 
Literature; (ft) To form an intimate acquaintance, through intensive study, 
of a fe^T great Classics, also to read for pure enjoyment representative 
writings from the different periods; (c) To develop further a critical taste 
and judgment for the Classics read, by an appreciative interpretation of 
them in longer and more original themes. 

HISTORY OF ENGLISH LITERATURE 

The leading facts of the History of English Literature should be learned 
thoroughly, and these should be reviewed constantly. The motive forces 
back of each Age should be learned, and an effort put forth to catch the 
spirit of the times. A comparison and a review of the different periods 
should frequently be made, and estimates formed of their relative importance 
as producing certain types of literature. For example, the life of the 
Elizabethan Age found a natural medium of expression in the Drama, and 
a Shakespeare was inevitable ; and, though Milton 's ' ' soul was like a star 
and dwelt apart," he was Puritan to the core; Dryden pandered to the 
corrupted tastes of his Age, and Pope was the mouth-piece of his own times. 
Students should learn enough of the facts and of the spirit of each Age 
to realize, in a way, in what particulars the re^jresentative writers merely 
voice the sentiments of their own timeSj in what particulars they are prophets 
of the future, also what truths grow out of their own thinking regardless 
of the Age. It will often be well to supplement the History of Literature 
with a good History of England. 

CLASSICS 

During the brief time of a high school course the most any teacher of 
Literature can hope to do for his students is: (a) To teach them what to 
read; (b) To teach them how to read; (c) To inspire them, if possible, 
with a love for good books. The last point is fundamental. If the teacher 
of English fails in this, all his efforts have been misdirected. In this age 
too many people are reading too many books — much that is not worth while. 
It is not so much how many books we read as what books we read, and how 
we read them. The readings for the Fourth Year have been planned on 
the above facts as a basis. Almost all of the selections for class study and 



84 teachers' manual 

for home-reading are complete selections, and they represent the best think- 
ing of the English race. The books for study meet most of the College 
Entrance Eequirements, and they deal with every important period in the 
History of English Literature. A good deal of memory work is provided 
(see pp. 29 and 33 of this Manual), and the History of Literature is 
arranged in parallel with the readings to be done throughout the year. And 
while the leading facts of the History of Literature should be learned 
thoroughly, all such knowledge should be subordinated to a first-hand 
acquaintance with the masterpieces themselves. Eeviews and tests should 
be given as often as the teacher thinks best, but literature should never be 
taught and measured by an examination. 

THEME WOEK 
The themes for this year are to be longer, but less frequent. They 
should deal principally with subjects based upon the readings, but where 
students show a deficiency in certain kinds of compositions the Herrick and 
Damon touching upon this should be reviewed, and compositions drawn from 
other sources assigned. By this time students are supposed to be practically 
free from grammatical errors; they are sujiposed to know how to punctuate 
reasonably well; how to construct clear and forceful sentences. For these 
reasons, in the Fourth Year emphasis should be placed upon the ability to 
think, to organize and develop material, to interpret and to appreciate. 

HOME EEADINGS 
The same general suggestions hold good here as were outlined on pp. 13 
and 14 of this Manual. In addition, however, enough selections from 
Twelve Centuries of English Poetry and Prose are assigned to give the stu- 
dents an idea of the development of our language — of the style and subject- 
matter of the different authors. Students, too, are in a better position now 
to make comparisons of the books previously read with those studied during 
the Fourth Year. Practically all types of literature have been studied by 
this time — the drama, epic poetry, lyric poetry, the ballad, the masque, the 
ode, the novel, the essay, etc. Students should know the chief characteristics 
of each type of literature, and should begin to form judgments and express 
opinions of their own. During the first week of the first month the teacher 
should outline the home readings to be done for the year, and should indicate 
the parts in the Introduction to the Lake English Classics that will be 
helpful. It will be well frequently to call for a dramatization of parts of 
certain books. For this work Simons-Orr's Dramatization is invaluable. 
It gives dramatizations of portions of The Hoiin Eood Ballads, The Canter- 
bury Tales, Idylls of the King, and Henry Esmond. 



FOURTH YEAR BY WEEKS 

FIRST THREE MONTHS 

(FIRST MONTH) 

FIRST WEEK 

Newcomer's Historii of English Literature, Chapters I. and II, 
Readings: BeoKulf (1-lS).* 

(a) Learn the story, (b) Suggest passages that reflect the national life of 
the Anglo-Saxons. 

SECOND WEEK 

Monday: Newcomer's History of English Literature, Chapters III.-V. 

Tuesday and Wednesday: The Prologue to The Canterbury Tales (43-52). 
See Chaucer's Pronunciation, also Meter (-12). 

The Prologue gives a vivid account of how the people of Chaucer's time 
dressed, acted, felt, thought, etc. 

Thursday and Friday: The Nonne Preestes Tale (53-60), and The Legend 
of Good Women (60-02). 

Note: (a) The clear-cut and vivid descriptions, (b) The kindly humor, 
(c) The melody of verse, (d) The form of the poetry, (e) The author's ability 
as a writer of forceful and interesting narrative. 

Review Chapter XXIV, Ilorrick and Damon. 

THIRD WEEK 

Monday: Newcomer's History of English Literature, Chapter "VI. Review 
of the text. 

Tuesday, Wednesday, Thursday: Ballads (09-84). 

Review Chapter XXV, Ilerrick and Damon. 

Practice in telling the stories. The definition and characteristics of a 
ballad. (A Ballad is a story, "or poem, told in song. It is "simple in plot and 
metrical structure, divided into stanzas, and characterized by complete imper- 
sonality as far as the author is concerned." Unlike other lyric poetry, the 
Ballad does not reflect the feelings of the author. The first person is seldom 
used, and there are no comments upon the story.) 

Note : Students should try to get into the "spirit" of the Ballad. This 
same spirit will be found later in the plays of Shakespeare and in the poets of 
the Romantic School. 

Friday: Theme. Subjects : (a) A character sketch (see Prologue to The 
Canterbury Tales), (b) An oral discussion of The Nonne Preestes Tale, (c) 
Chaucer's characteristics, (d) A summary of the leading facts of Newcomer's 
History of English Literature, Chapters I.-VI. 

* These page references are to Ticelre Centuries. 

85 



86 teachers' manual 

FOURTH ^yEEK 

Monday: Newcomer's History of English Literature, Chapters Vn.-VIII. 

Tuesday: The-Knight of the Red Cross {Faerie Queene, pages 127-139). 

Note: (a) The melody of verse, (b) Obsolete forms of expression, (c) The 
ideals presented, (d) Beautiful descriptions. 

Wednesday: The Sonnet (142-44). Memorize XXIX. and LXXIII. (Have 
one section of the class memorize one sonnet, the other memorize the other 
sonnet, and then have a contest and a discussion of the relative merits of the 
two sonnets.) 

Teach the principles of the Sonnet : (a) The Sonnet contains a "single idea, 
sentiment, or emotion;" (b) It is confined to 14 lines, the rhythm is iambic, 
the meter is pentameter (five feet to the line), and the rhyme of a 
Shakesperean Sonnet is abab/ cdcd/ efef/ gg, the climax of thought being 
invariably in the couplet. 

Thursday: Elizabethan Lyrics (144-150). 

Note : Omit or review the poems outlined in second year. 

Memory work: Stanzas I. -IV. of "The Passionate Shepherdess" (146). One 
of the Shakesperean lyrics. (Allow students to select the one they like best.) 

Friday: Monthly Book-report. Home Readings for the first month : 
(1) Everyman (pages 84-94); (2) Selections from: (a) Bede (20-23), (b) 
Cynewulf (23-25). (c) Alfred the Great (27-28, 35-30), (d) Geoffrey of Mon- 
mouth (29-32), (e) Langland (.39-40), (f) Wyclif (41), (g) Mandeville (63-68), 
(h) Caxton (95-96), (i) Malory (96-110). 

Note : Enough reading by the students should be done under "2" to acquaint 
them with the style of these different authors, the nature of the subjects treated, 
and the author's attitude toward life. 

(SECOND MONTH) 
FIFTH WEEK 

Monday: Newcomer's History of Enf/lifh Literature, Chapter IX. 

MACBETH 

("A tragedy of the triumpl,j of evil.") 

Read the Introduction (9-41) of the Lake Edition of Macieth. 

One Act each day until the entire play is read. Practice in telling the story. 

Memory work for the fifth week : * 

(a) "Yet do I fear thy nature," and the 14 lines ff, page 60. 

(b) "The raven himself is hoarse," and the 16 lines ff, page 62. 

(c) "If it were done when 'tis done," and the 27 lines ff, page 66. 

SIXTH WEEK 

Monday: Macbeth, Act V. Finish the story. 

Tuesday: Macbeth, Act I. A study of plot and character : prol)lems in the 
story. 

Purpose of the Scenes in Act I. 

* Page references are to the Lake English Classics. 



teachers' manual 87 

Scene 1: An atmosphere of moral and physical gloom, the spiritual key 
note of the play. 

Scene 2: Relations between Macl;eth and Duncan revealed. 

Scene 3 : The temptation scene. 

Scene 4: The nomination of Malcolm as Duncan's successor: this stands in 
Macbeth's way to the throne. 

Scene 5 : Macbeth's destiny is complicated by relations with another char- 
acter, Lady Macbeth. 

Scene 6 : Opportunity for the realization of the "first accident," Duncan's 
visit to Inverness. 

Scene 7 : To portray Macbeth's attitude or feelings toward the contem- 
plated murder. 

Questions on Act 1: What is the purpose of the witches in this play'/ 
Point out the particulars in which Macbeth's character is weak ; Lady Macbeth's 
character strong. Note the difference in the effect the suggestions of the witches 
had on Macbeth and on Banquo (pp. 51-53). Who meets the king when he visits 
Macbeth? Why? What alone seems to deter Macbeth from crime? Quote to 
prove. What was Lady Macbeth's strongest argument in persuading Macbeth 
to the murder of Duncan? 

Wednesday: Act II. 

Thursday: Act III. 

Friday: Debate : Resolved, That Macbeth was more responsible, morally, 
for the murder of Duncan than was Lady Macbeth. 

Memory work for the sixth week : 

(a) "Was the hope drunk," and the 41 lines ff, pagei 68. 



SEVENTH WEEK 

Monday: Act IV. 

Tuesday: Act V. 

Wednesday: A character sketch of Macbeth or Lady Macbeth. 

Thursday and Friday: A general discussion of Macieth. 

Questions and Suggestions : E.xplain why the escape of Fleance is the climax 
of this play. Show by illustration the difference in courage in action and moral 
courage, and then prove (by citing specific instances in the play) which one of 
these influences Macbeth most. What are Macbeth's points of weakness? His 
points of strength ? Was Lady Macbeth selfish in her ambition, or was she 
interested primarily in Macbeth's success? Prove. ITow did the evil sugges- 
tions of the witches affect Macbeth ? Lady Macbeth ? How do you account for 
this? Name two flaws in Macbeth's character. Why did Lady Macbeth, so early 
in the play, cease to play a part in Macbeth's crimes? When only was Lady 
Macbeth's conscience stung to remorse? Account for this. Had Macbeth and 
his wife ever discussed the murder of Duncan previous to the opening of the 
play? Why do you hold this belief? What was the least excusable crime of 
Macbeth's? Show how Macduff played the same role in the latter part of the 
play that Banquo played in the earlier part. Did Macbeth ever repent? What 
was his only seeming moment of remorse in the play? (See page 150.) 

This play should be studied in the light of its central truth : "A soul which 
has commenced to surrender to evil, will find in the powers of darkness agencies 
to expedite its descent." 



»» TEACHERS MANUAL 

Additional Memory Passages 

(a) "Go bid thy mistress, when my driuls is ready," and 20 lines ff (page 
72) ; (b) "Methought I heard a voice cry," and the 5 lines fl (page 76); (c) 
"Whence is this knocking," and the 6 lines ff (page 77) ; (d) "Ift be so, For 
P.anquo's issue," and the 7 lines ff (page 91) ; (e) "Nought's had, all's spent," 
and the 23 lines ff (page 94) ; (f) "There's comfort yet," and the IS lines ff 
(page 96) ; (g) "I have lived long enough," and the 7 lines ff (page 141) ; (h) 
"She should have died hereafter," and the 11 lines ff (pagel45). 

EIGHTH WEEK 

Monday: Newcomer's History of English Literature, Chapter X. 

Tuesday: Bacon's Essays "Of Studies" (page 212) ; "Of Friendship" (page 
21o) ; "Of Revenge" (page 317). 

Wednesday: A general review of Newcomer's History of Enylish Literature, 
or a test. 

Thursday: Monthly Book-report. 

Friday: A theme, based upon The Tempest. Subjects : A Character Sketch 
of Miranda, The Humor in This I'lay, The Purpose of Caliban in the Story, The 
Spirit Ariel. 

Home-readings for the second month : Doctor Faustus (page 151 ff) ; The 
Tempest (page 164 ff) ; Volpone (page 192 ff). (One of these plays.) 

(THIRD MONTH) 
NINTH WEEK 

Monday: Newcomer's History of Enylish Literature, Chapter XI. 

Tuesday: Caroline Lyrics, pages 220-223. Memorize the last stanza of 
"To Althea, From Prison," also one other poem. 

Wednesday: A comparison and a contrast of the Puritan Age with the 
Elizabethan Age. (See Chapters X. and XI) 

Thursday: "On the Morning of Christ's Nativity" (page 223). 

Friday: L'Allegro (page 227). 

TENTH WEEK 

Monday: II Penseroso (page 228). Note the parallel in the last two poems: 
(1) What is banished in each case, (a) The parentage of each, (b) The abode 
of each ; (2) What is welcomed, (a) The description of each, (b) The parentage; 
(3) The companions of each; (4) The pleasures in the one of the morning and 
in the other of the evening; (5) The pleasures of the bright noonday in the 
one, and of the midnight hour in the other. Have students outline these 
poems to the end. 

Note the beautiful descriptions in these poems; give special attention to all 
mythological references. 

Tuesday, Wednesday, Thursday, Friday: Paradise Lost (pages 234-258). 

Memory work for the tenth week: L'Allegro (lines 31-36, 131-152) ; Para- 
dise Lost (lines 106-124, 158-191, 242-263) ; 'Evening in Paradise" (page 257). 

Have students outline some of the speeches in Book II. 



TEACHERS MANUAL 0\) 

ELEVENTH WEEK 

Mondaij: Newcomer's History of Enyli^h Liierature, Chapter XII. Review 
Chapter XI. 

Tuesday, Wednesday, Thursday: Dryden (pages 277-2S9). 

Compare the prose style of Dryden (pages 2SS-2S9), with that of Milton 
(pages 259-264), with that of Sidney (pages 206-208), and with that of More 
(pages 110-119). 

Friday: Theme: (a) What I Found in Shakespeare, (1j) Lyric Poetry, (c) 
An Appreciation of Milton. 

TWELFTH WEEK 

REVIEW 

Monday and Tuesday: Newcomer's History of English Literature. An out- 
line of the followiiig fundamental facts should bo made: (a) The date of each 
period, and the forces back of it; (b) The chief works of the leading authors, 
and the characteristics of their writings. A comparison of the different periods 
should then be made: (a) The difference in the forces that produced the Age; 
(b) The style of the authors, and the subject matter treated. 

Wednesday and Thursday: \ review of Twelve Centuries: (a) An oral 
account of the leading stories; (b) A discussion of the fundamental truths 
learned; (c) The poems memorized. 

Note : An effort should be made to ascertain what selections different pupils 
liked, and why. 

HOME-READINGS FOR THE THIRD MONTH 

One of the plays suggested for home-reading at the end of the second month. 
(See page 88, of this Manual.) Also Quentin Durward. 

SECOND THREE MONTHS 

(FOURTH MONTH) 

THIRTEENTH WEEK 

Monday: Newcomer's History of English Literature, Chapter XIII. 

Tuesday and Wednesday: tsteele and Addison (290-303). 

Students should note in these Essays : (a) Qualities of style (see New- 
comer's History of English Literature (181), (b) The particulars In which the 
Age is reflected: morals, politics, society, (c) Character delineations. 

Students fthould read the "Introduction' to The Sir Roger de Corerley Papers 
(Lake English Classics, 13-48), which gives an interesting account of the 
times, and which will assist materially In an appreciation and an under- 
standing of these Essays. Students may also be required to read some of the 
following Essays: Will Wimble (89), Sunday With Sir Roger (106), The 
Coverley Ghost (100), Sir Roger and the Hunt (123), Sir Roger in Love 
(111), Sir Roger at the Assizes (156), Sir Roger at the Play (213), The Death 
of Sir Roger (228). 

Thursday: "Ode on St. Cecilia's Day" (305), "Essay on Criticism" (307- 
310). 

Friday: "The Rape of the Lock" (310-319). 



90 teachers' manual 

fourteenth week 

Monday: "Essay on Man" (319-325). 

JSJote : (a) Pope's perfection in form, (b) His conventionalities in verse 
and subject matter, (c) His lack of high ideals and emotional enthusiasm. 

Tuesday: '•Selections from Swift" (330-342). 

Wediiesday: Newcomer's History of English Literature, Chapter XIV. Re- 
view of the text. 

Thursday: Newcomer's History of English Literature, Chapter XV. 

Friday: "Ossian" (351-2), "Samuel Johnson" (355-363), "Boswell" (363- 
368). 

FIFTEENTH WEEK 

Monday: "The Deserted Village" (373-377). 

Tuesday: "The Cotter's Saturday Night" (-101-403). 

Wedticsday: "To a Mouse" (406), "To a Louse" (407), "To a Mountain. 
Daisy" (407). Memoriae the last stanza of each poem. Note the comparisons 
in "To a Mountain Daisy." 

Thursday: "Tam O'Shanter" (408-411). Note the humor in this poem. 
Point out and comment upon beautiful descriptions. Memorize lines 53-78. 

Friday: "Green Grow the Rashes" (411), "Auld Lang Syne" (411), "John 
Anderson, My Jo" (411), "To Mary in Heaven" (412), "Highland Mary" 
(413). 

Memorize "Highland Mary." 



SIXTEENTH WEEK 

Monday: "My Heart's in the Highlands" (412), "The Banks o'Doon" 
(412), "Afton Water" (412), "Bannockburn" (413), "Contented Wi' Little" 
(413), "O Wert Thou in the Cauld Blast" (414). Memorize "Afton Water." 

Tuesday: "Address to the Deil" (404). Memorize "Bonnie Doon." 

Wednesday: "Address to the Unco Guid" (405). Memorize "To Mary in 
Heaven." 

Thursday: A review and a discussion of Burns' poetry. 

Friday: An afternoon with the poet Burns. 

Suggestive Puoguam 

Song : "Afton Water." 

Reading : "Bannockburn." 

Recitation : "To Mary in Heaven." 

Contest : Have students quote from poems memorized, and let others guess 
in what poem the quotation occurs. This should be done rapidly. 

Song : "My Heart's in the Highlands." 

Why I Like Burns (an oral discussion of 2 minutes each by three or four 
students). 

"John Anderson, My Jo." (Have a boy and a girl dress as two old people, 
and let them act out the sentiment of the poem, the girl singing.) 

Song: "Auld Lang Syne." (A quartet or a chorus.) 



TEACHERS' MANUAL 91 

(FIFTH MONTH) 
SEVENTEENTH WEEK 

Monday: Newcomer's History of English Literature (232-252) ; Words- 
worth, Coleridge, Southey, Byron. 

Tuesday: "We Are Seven" (415), "Lines Written in Early Spring'' (416) 
(Wbat belief of Wordsworth's is expressed in the third stanza V), "Tinteru 
Abbey" (416). What influence did Nature exert upon Wordsworth in his boy- 
hood daysV How did this change later? (see lines 05-83; 83-102). This poeui 
contains much of Wordsworth's philosophy of life, and should be studied thor- 
oughly. 

Wednesday: "Strange Fits of Passion Have I Known" (418). Memorize 
"She Dwelt Among the Untrodden Ways" (418), "To the Cuckoo" (422) (Com- 
pare this poem with Shelley's "Skylark," studied during the second year), 
"Ode to Duty" (423). 

Thursday: "I Wandered Lonely as a Cloud," memorize (423), "To a Sky 
lark," 1825 (423), "Intimations of Immortality" (424). What belief of Words- 
worth's is expressed in section V? In the last four lines of this poem? 

Friday: "The Prelude" (420). 

Find in the poems read illustrations of the following: (a) Wordsworth's 
belief in pre-esistence ; (b) The sentiency of Nature; (c) Wordsworth's love of 
color, form, sound ; (d) Evidences of his belief in the moral and ethical value 
of Nature. 

EIGHTEENTH WEEK 

Monday: "The Sonnet" (426-427). Find in each Sonnet the "symbol" 
and its application. Compare these Sonnets with those of Milton (233-4), 
and those of Shakespeare (143-4) : (a) In subject matter, (b) In diction, (c) 
In rhyme scheme. 

Memorize "London, 1802." Give two reasons why Wordsworth should call 
upon the spirit of the dead Milton. In what respects was Milton's soul like a 
star, which dwelt apart? 

Tuesday: "Christabel" (436). Point out instances of: (a) The struggle 
between good and evil in this poem, (b) Lines surcharged with the spirit of 
romanticism. 

Wednesday: "France" (440), "Hymn Before Sunrise" (441), "Youth and 
Age" (442), "Work Without Hope" (443). 

Thursday: Scott (443-449). 

Friday: An afternoon with the poet Wordsworth. (Students may prepare 
a program similar to that at the end of the sixteenth week.) 



NINETEENTH WEEK 

Byron (449-468). Memory work: "Sonnet on Chillon" (453), "The Pris- 
oner of Chillon," lines 231-251 (455-456). What is the dominant note in 
Byron's poetry? What is his attitude toward the conventionalities of society, 
politics, religion, etc. — all established order? How do you account for this'^ 



92 teachers' manual 

twentieth week 

Newcomer's Histori/ of English Literature (2511-266). 

Shelley (468-482). Note: The class may omit or review the poems of 
Shelley previously outlined in this Manual. Memory Work : "The Indian 
Serenade" (477), "Music, When Soft Voices Die" (482), "When the Lamp Is 
Shattered" (482). 

Fridaij: Book-report. All students should read Adam Bede or David Cop- 
perfield. 

(SIXTH MONTH) 

TWENTY-FIRST AYEEK 

Keats (4S3-4;t.'!). Memory Work: "lu a Drear Nighted December" (491), 
"On First Looking Into Chapman's Homer" (492), "Bright Star" (491:!). Note 
happy diction of Keats in "The Eve of St. Agnes," the romantic atmosphere and 
background of this story. In what particulars does Keats' "Nightingale" 
remind you of Shelley's poetry? E.xplain how the "Ode on a Grecian Urn" 
embodies the idea of imperishable beauty. \\'hat belief of Keats is expressed 
in the closing lines? 

TWENTY PEC'OND WEEK 

Monday: "The Battle of Blenheim" (498), "Ye Mariners of England" (494), 
"The Old Familiar Faces" (49.5), "To the Grasshopper" and "The Cricket" 
(496), "Abou Ben .\dhem" (496), "The Song of the Shirt" (498). 

Tuesday: Newcomer's History of English Literature, Chapter XVII. 

Wednesday and Thursday: Lamb, and Landor (504-516). Compare Lamb's 
Essays with The Sir Roger de Corerley Papers. 

Friday: Theme. Tlie Homantic Movement, An Appreciation of Shelley, or 
Byron, or Burns, My Favorite .\utbor. 

TWENTY-THIRD WEEK 

Monday: Some of the themes handed in on Friday may be read by the 
teacher and commented upon. Students should be encouraged to take a free 
part in discussing these tliemcs. 

Tuesday and Wednesday: DeQuincey (516-525). Note DeQuincey's bril- 
liant style, his long, periodic sentences. 

Thursday : A lesson in versification. Teach the simpler feet : iambus, 
trochee, dactyl, anapest. Determine the rhythm, apd scan the following 
poems: (a) "Gray's Elegy" (."47), (b) "The Tiger" (398), (c) "Auld Lang 
Syne" (411), (d) "Lines Written in Early Spring'' (416), (e) "I Travelled 
Among Unknown Men" (418), (f) "Maid of Athens" (451), (g) "The Indian 
Serenade" (477). 

Suggestions : Students should be encouraged to read these poems aloud in 
an effort to catch the rhythm ; read the line through naturally, mark all 
syllables long which require an accent in order to bring out the author's 
meaning. Mark all other syllables short. This scheme will usually make 
evident the prevailing foot of a given line. Do not try to measure off a line 
with the "yard-stick." Remember that the prevailing foot may be displaced 
by a substituted foot. 



teachers' manual 93 

Friday: Book-report. One of these Idi/lls of the King: "Gareth aud 
Lynette,"' "Lancelot and Elaine," "Guinevere." These poems should be read 
for the story, and for pure enjoyment. Also one novel. 



TWENTY-FOURTH WEEK 
REVIEW 

Note ; All reviews should be systematic and thorough. See suggestions at 
the end of the First Three Monthsi of this Manual. No exercise is more profit- 
able than comparing the similarity of the fundamental truths of life as treated 
by different authors, noting the language used as a means of expressing these 
truths, and the background, or circumstances, out of which these truths grow 
into a living reality in the poems. 



THIRD THREE MONTHS 

(SEVENTH MONTH) 

TWENTY-FIFTH WEEK 

Monday: Newcomer's History of English Literature, Chapter XVIII. (283), 
Tennyson. 

Tuesday: "The Lady of Shalott" (5G7), "Oenone" (569). Practically all 
of Tennyson's descriptions exist for the purpose of emphasizing the mood of 
his characters. See third stanza of "Oenone," etc. 

Wednesday: "The Lotub Eaters" (572). Wl-at furnishes the dramatic 
interest in this poem? (The longing for home, etc., and the influence of the 
lotus.) "Saint Agnes' Eve" (572), "Sir Galahad" (573). These two poems are 
full of the spirit of the Christian religion: the one, religion in repose; the 
other, religion in action. 

Thursday: "Morte D'.Vrthur" (575), "Ulysses" (577). Tennyson's own 
idea of life : a heroic struggle, to the end, is prominent in this poem. 

Friday: "Locksley Hall" (579). Note, in this poem, Tennyson's faith in: 
(a) The democratic spirit of the Age, (b) Evolution, (c) Science. 

Memory work for the week : "Ulysses," lines 18-32 ; (b) "Locksley Hall," 
lines 127-144. 

TWENTY-SIXTH WEEK 

Monday: "Break, Break, Break" (memorize), from "In Memoriam" (584- 
587), Song from "Maud" (588-589), "The Revenge" (590). 

Tuesday: "Rizpah" (594), "Vastncss" (597), "Crossing the Bar,'' memorize 
(.598). 

Wednesday: Newcomer's History of Enylish Literature, Browning and 
Arnold (296-315). 

Thursday: "New Year's Hymn" (598). "Cavalier Tunes" (599-600), "My 
Last Duchess" (600-601), "In a Gondola" (601). 

Friday: "The Pied Piper of Hamelin" (603), "The Lost Leader" (G07), 
"llonie-Thoughts from Abroad" (008), "The Boy and the Angel" (60S). 



94 teachers' manual 

twenty-seventh week 

Monday: "Saul" (GOO). Students shoTild learn the story. 

Tuesday: "Saul." A class diseussiou of tbe central theme, and of the 
separate truths Browning uses in developing this theme. Note, in section V, 
a happy comparison ; in section IX. Browning's love of an intense life; then, at 
the close of the poem, how all Nature seems to be full of emotion. In this poem 
Nature seems to be in harmony with the mood of the characters. This is 
unusual with Browning. 

Wednesday: "Evelyn Hope" (616), "Fra Lippo Lippi" (61G). 

Thursday: "Up at a Villa — Down in the City (621), "Memorabilia" (622), 
"Popularity" (623), "The Patriot" (623), "Childc Roland to the Dark Tower 
Came" (624). 

Friday: "Rabbi Ben Ezra" (026). This poem contains some of Browning's 
fundamental teachings, and should he studied thoroughly. "Prospice" (629), 
"Wanting Is — What?" (6.31), "Epilogue" (631). 

TWENTY-EIGHTH WEEK 

Monday: A discussion and a comparison of Tennyson and Browning. 

Tuesday: "Sonnets from the Portuguese" (6.'{2). 

Wednesday: "Rubaiyat of Omar Khayyam" (633). 

Thursday: The poems of Clough (639-640). See Newcomer's History of 
Enylish Literature, pages 315-316, for the life of Clough. 

Friday: Book-report. Macaulay's Addison. Several of the 8ir Royer de 
Coverley Papers (see thirteenth week). 

(EIGHTH MONTH) 
TWENTY-NINTH WEEK 

Monday: Themes. An Appreciation of Tennyson, Browning; an Essay, 
modeled after the "Spectator." 

Tuesday: A class discussion of the themes prepared for Monday. 

Wednesday, Thursday, Friday: Carlyle (.526-539). Read Chapter XX (342- 
351) of Newcomer's History of English Literature. 

THIRTIETH WEEK 

Monday, Tuesday: Macaulay (539-547), Newman (548-551). See Newcom- 
er's History of English Literature for the lives of these authors. 

Wednesday: "A Christmas Tree" (551-559). Newcomer's History of Eng- 
lish Literature (317-325). 

Thursday, Friday: Thackeray (559-566), Newcomer's History of English 
Literature (325-332), A Review of the week's work. 

THIRTY-FIRST WEEK 

Arnold (656-662), Froude (662-669). Huxley (669-674). See Newcomer's 
History of English Literature for the lives of these authors. 



teachers' manual 95 

thikty-second week 

Ruskin (674-686), Pater (723-730), Stevenson (730-734). See Newcomer's 
Hitftory o/ English Literature for the lives of these authors. 



(NINTH MONTH) 
THIRTY-THIRD WEEK 

Poems of Arnold (645-650), Poems of Morris (702-710). 
History of English Literature for the lives of these authors. 



See Newcomer's 



THIRTY-FOURTH WEEK 

Poems of the Rossettis (686-702), Poems of Swinburne (710-723). Allow 
students to select from these authors what they consider the four or five best 
poems, and then to explain to the class the reasons for their choice. 



THIRTY-FIFTH AND THIRTY-SIXTH WEEKS 

(a) Book-report : Sesame and Lilies or Henry Esmond. A general dis- 
cussion of the books read during the year. 

(b) Reviews and tests. 

(c) Final Theme. This theme should be longer and more exhaustive than 
any other theme written during the year. 



sill? 

General Editor 

LINDSAY TODD DAMON, A B. 

Professor of 
English Literature and Rhetoric in Brown University 



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